#it's about the same set of characters but it's basically about different things happening in their life

[infiniterealms]

Infinite Realms: A Danny Phantom Remix Event

Remixing time!

Hello everyone! I'm very excited to announce that the time for remixing is upon us!

The initial twelve fics will be posted over the next day or so, and I will add them to this pinned post as they're up.

What is a Remix?

Have you ever read an amazing fic and wanted to have a go at it yourself, but felt too shy or like you’d be doing something wrong? Have you ever seen the Two Cakes comic and wistfully remembered a oneshot someone wrote that you wish you could continue? Do you want to show an author you love their work to the point of your own creation, but you don’t know how to make fanart?

This is your opportunity to give something new a try!

When you remix a fanfiction, you write a piece based directly off the fic. There are many ways to do this, and the ones accepted in this event are as follows.

POV Flip - Retelling the same events from a different character's point of view.

Role Reversal - Swapping the roles of two key characters. An example would be remixing a fic where Valerie hunts Danny, by turning Valerie into the hunted and Danny into the hunter in your version.

Sequel/Prequel - The events leading up to or following the fic. This should overlap with either the first or last scene of the original.

Genre Change - Changing the fic to a different genre. An example could be changing a modern day canon setting to medieval fantasy or to a space opera.

For Want of a Nail - One small detail at the beginning of fic is changed, causing things to happen differently.

One Crucial Detail - Focus on what you think is the most important detail of the fic for a character’s point of view, and let everything else fall away.

Guidelines for Remixing

There are no sign ups or restrictions on who can participate. All skill levels are welcome!

For this event, we will be doing gen fics only. This is to create a space where everyone can enjoy the pieces regardless of shipping preferences. Potential future iterations of this event may include a shipping option.

Other types of remixes are okay if the author of the oneshot specifies that in their fic description.

Three things cannot be changed - who the characters are, the basic setting, and the basic plot.

Please keep your pieces rated T and under, and use all appropriate trigger warnings.

No direct plagiarism - you need to write things in your own words for the fic to be included in the collection. It’s okay to quote some dialogue or a key sentence or two, especially if you’re writing overlapping scenes, but your fic should mostly be your own words.

In the spirit of the event, crossovers should be avoided unless the author specifically states on their fic that they would be okay with them. In future years we may introduce a crossover category, but for now, avoiding crossovers makes your pieces more accessible to everyone in the fandom.

This event is designed for writers. However, if artists wish to participate, then they can also feel free to do so. Pictures will be reblogged to the @infiniterealms tumblr, and should follow the same posting requirements as written fics (listed later in this post).

There is no limit to how many pieces anyone writes.

There are no word count restrictions.

The event officially ends on the last day of February, but I hope you all enjoy learning more about remixing thanks to this event and maybe give it a try again in the future!

Posting Requirements

To have your remix featured on this blog and/or included in the ao3 collection, please...

...for tumblr posts

Mention the @infiniterealms blog

Use the hashtags Infinite Realms and Danny Phantom

@ the author of the original piece

Link the original piece at the start of your post

...for ao3 uploads

Tag your fic with Infinite Realms

Add your fic to the Infinite Realms Remix 2025 collection at this link

When uploading your fic, tick the checkbox that says "This work is a remix, a translation, a podfic, or was inspired by another work" and fill in the relevant information

Initial Fics to Remix

Will be updated as they're posted! All 12 should be up by the end of February 1st, so watch this space.

On the Line by @lexiepiper

Bitter and Heavy Truths by @haleswallows

Touring Babel by @princessfanonanona

LOST! do not approach, may bite by @lavendarlily

down and down and down we go by @camels-pen

Time and Time and Time Again by @coyotecrackers

First Contact by @hannahmanderr

Foreworn by @jackdraw-spwrite

nervous by @five-rivers

oh, mental breakdown, we're really in it now 😔 by @oofouchstovehot

Please check the notes on the fics before you remix them, as some authors have also stated a few preferences. Thank you!

[arovalentines]

some bobbles (+ two unfinished things)

[summertimesadnessirl]

Is it inaccurate in a way that allows the modern viewer to understand the mindset and the world of the characters at the time effectively or is it inaccurate in a way that makes it seem like they wanted to make a CW show and they ran out of paranormal creatures?

Is the overall plotting and characterization speaking about issues that people in this time were struggling with and that these historical figures were themselves either struggling with themselves or that their stories were used to examine at the time in some way? Would they fucking say that?

historical inaccuracies in period dramas are okay as long as i like them

[totheidiot]

you want to know about my ocs so bad, don't you? it's almost so embarrassing for you —

[flufftober]

🍂 🍃 Hello and welcome to our fourth annual Flufftober 🍂 🍃

We’re so excited to be back and have you here once again!

As always, let’s fill the month of October with as much fluff as possible 🥰 for that to happen, you can either use our 31 regular prompts or enjoy a little challenge 😏

Below the cut, you'll find all our rules, posting info, and all the prompts in writing. If you have any more questions, please feel free to send us an ask.

And now, for the challenge...

Prompt Extras

We love to see how many of you get inspired by our prompts every year - be it by the original list or the Prompt Extras. Once again we're offering you that option and you're more than welcome to replace prompts from the original list if they don't work for you for whatever reason - no explanation needed.

As has become tradition, we offer you last year's top five fan favorites (as voted in the end survey). In addition to that, we also offer a little challenge: five angsty prompts for you to turn fluffy!

If you don't want to replace any prompt from the original list but still love the additional ones - or you simply want to challenge yourself even further - you can also mix them all together!

So in whichever way you use these Prompt Extras, have fun with them and go wild 💚

We hope you like these prompts, and now

Happy Creating 🥳

Standard Blog Rules & FAQ

Addendum: We do not allow AI creations of any kind.

(Due to previous asks, we made sure to add more points to this section - while they're not new rules, they're newer to this list, so you'll find them colored green)

No inc*st or p*dophilia - we can’t keep you from writing it or creating art for it but it won’t be reblogged. No inc*st: This rule does not apply to distant cousins and such, as you might find in the LotR fandom (or basically in all of European Monarchy). The line we draw is at direct blood relations (siblings, parents, kids) and/or legal guardianship. No p*dophilia: This rule does not rule out fandoms that feature teenagers such as Harry Potter, Heartstoppers, Hunger Games, etc. It also doesn't mean you can't write about their time together as teenagers! It's aimed at ships in which one is a minor and the other is not - but since even that has grey areas, the rule is this: if you keep it SFW, all is good and allowed, we don't care; if it turns NSFW, be mindful of the legalities of the world/society/times your characters live in.

No hate or ship bashing - we’re all different and we all love different things. As long as it doesn’t go against rule #1, it’s allowed.

Tag correctly! Trigger warnings (including cheating!), ships, ratings, (pure) smut, etc - it’s all fine as long as you tag it.

There’s absolutely no word count restriction, write as little or as much as you like.

In regards to art, anything goes: drawings, paintings, collages, mood boards, gif sets, videos, playlists… the sky’s the limit (though not really…). If you would like to create a podfic, the fic you're using does not have to be new - your creation will be new!

You can mix and mash different mediums however you like, be it within one prompt or on different days.

While we can’t force you to write fluff or create fluffy art, please try to keep in mind that this is a fluff event 😉 that, of course, doesn't mean you can't combine it with angsty/whumpy prompts - hurt/comfort is absolutely welcome!

You can start creating as soon as you see this - but please refrain from posting before the respective day.

If you post early, we will schedule your post for the correct day; if you use multiple prompts in one creation, we will post on the earliest day you used.

You can participate on as many days as you like, even if it’s just one; you can also create multiple entries for the same day.

You can replace as many original prompts as you like with our prompt extras; you can also combine them with the original prompts or create for them in addition, that's completely up to you.

It’s okay to write one story/a series for all the prompts.

You do not have to stick to one character, ship, or even one fandom - switch as often as you like to or even write for multiple ships for one day.

The ship does not have to be a romantic one! Friendship and family feels are more than welcome (but this is not a way to get around rule #1!)

Original works as well as OCs in fandoms are welcome! But please make sure to mark these clearly, either in the tags or the post itself. We're not familiar with all fandoms (though we're definitely learning a lot!), so we're not always sure what might be an OC and what might be such an unknown side character not even Google can find them...

Reader insert fics (for example "character x reader") as well as RPFs are absolutely allowed.

Other languages are also welcome - just make sure to clearly mark the day and fandom so that we can still easily reblog.

This event can be combined with other events as long as the other event allows it.

Late entries are always welcome, even if it is months or years later.

All fandoms and ships are welcome - fanon and canon - as long as they’re of age (in case you want to add smut) and not related.

Posting

Posting to tumblr

Please use the tag #flufftober2024 Please make sure there is NO SPACE between flufftober and 2024! We will NOT be checking the other tag this year!

Since tags are sometimes wonky, make sure to also mention us with @flufftober in your post

We will try to catch them all, but please don't be mad if we miss a post or if it gets reblogged a bit late

If you're absolutely certain a post has slipped past us, feel free to send an ask with the link to your post

To make reblogging easier for us, make sure to add the following tags: #flufftober2024 #day [xy] #[fandom] #[ship and/or main character(s)]

If you're using a prompt extra tag it as #alt [number]

Posting to ao3

You can add your creation to the collection Flufftober 2024 (either as flufftober2024 or as flufftober_2024)

Late entries are always welcome, on tumblr as well as the ao3 collection! Neither will close - but like always, reblogs will become less regular the more months have passed...

Prompts

1. Lost Pet Meet Cute

2. “Left. Other left!”

3. Favorite Scent

4. Market Day

5. Acorn, Chestnut, Pine Cone

6. Mistaken Identity

7. Hoodie Weather

8. Chopping & Piling Wood

9. “Don’t do that!” - “But…”

10. Bet, Game, Contest

11. Ingredients & Spells

12. “This is spooky.” - “Really?”

13. Attic, Cellar, Hidden Room

14. Fantasy AU/Mundane AU

15. “What are you wearing?” - “It’s laundry day!”

16. Yes, No, Maybe

17. Only One Bed

18. Bewitched

19. Yarn

20. Paw

21. Bonfire

22. Heirloom

23. Stormy Night

24. Comfort Food

25. Haunted House

26. “I can’t find it.”

27. Afternoon Stroll

28. Lucky Charm

29. Time Capsule

30. “Forever?”

31. Make a Wish

Prompt Extras

Last Year's Favorites

Alt 1: “I’ve got you”

Alt 2: Rainy Day

Alt 3: “Wait you love me?” - “I always have”

Alt 4: “I hate it” - “No, you don’t”

Alt 5: Porch Swing

Challenge "Make it Fluffy!"

Alt 6: Gravestone

Alt 7: Getting Revenge

Alt 8: Written but never sent

Alt 9: Suddenly Severed Communication

Alt 10: Rejected, Betrayed, Exiled, Left Behind

[cripplecharacters]

Does Your Scarred Character Have to Hate Themself?

[large text: Does Your Scarred Character Have to Hate Themself?]

(TLDR: No.)

A frequent topic that shows up around facial differences is the self-hatred, self-disgust, self-insert-negative-emotion that we must surely experience. I want to ask* writers without FDs - why? Why do you feel about us in such a way that that's the most common way of depicting us?

*- rhetorical question. I promise I know the answer, but I'm not sure if writers do.

It's frankly worrying to me. Is it really that common to assume that disabled people have this internal, never-ending hatred for themselves? The overwhelming majority of us don't. We hate inaccessibility, when people stare, or some symptoms when they get in the way, or how expensive being disabled is, but I find the concept of us being so completely disturbed by our own disabilities extremely strange. It’s “tragedy porn” intersecting “most basic ableism”.

“But trauma!”

[large text: “But trauma!”]

Trauma of what! People with facial differences don't have some sort of default trauma that we come with like it’s a factory setting. We are a group of people with tens of thousands of stories and experiences.

“Trauma of experiencing ableism/disfiguremisia” - that's better, at least this means something. If you're writing a story about this, please get a sensitivity reader with a facial difference. You can assume how we feel all you want, but in my experience these assumptions are often bizarre and unrealistic. Or just end up writing the same “disability so sad” sob story that everyone has seen a billion times. If you want to write about disfiguremisia, you need to understand the nuance and have more than just the basic level knowledge (which 99% of people don’t have either). If you can’t do that, don’t write about it. Simple as that.

“Trauma of the accident” - thankfully, the accident is an event and a facial difference is a disability. If you want to connect these two like they're one and the same, you're almost surely going to demonize disability. People with traumatic spinal cord injuries, acquired amputees, people with TBI, people with acquired facial differences - we participate in our communities, we have hobbies, we date, we play with our dogs. Disability isn't a death sentence. Media who make it feel like it is certainly don't help people who do suddenly become disabled, don't you think?

Here's a post by @blindbeta about blind characters becoming blind through trauma that’s better made than anything I could hope to write here. I heavily recommend giving it a read.

And, I can't stress this enough - most of us didn't have “the accident”, most of us are born like this. "Traumatic scars" isn't the only facial difference that exists, far from it, it's only one of thousands. It's 99% of our representation and "representation". If you want to make a character with FD - please consider that we aren't a monolith. Just like not all physical disabilities are "wheelchair user with paralysis and somehow no other symptoms", not all facial differences are "traumatic scar with somehow no nerve damage".

The overrepresentation of it is incredibly telling, and sometimes - or very frequently - feels like the writer doesn’t actually even want to deal with us. They want to use our disability as a way to cheap drama, moral metaphors, tragic backstories. Not to represent us as living people who are much more similar to you than you apparently think.

Now, I do have enough awareness to know that that's a big part of the appeal. “Horrific Thing #2456 happens” and boom, instant drama. Of course, it's a reasonable response that they would hide their disability for years, avoid talking about it in any way, and magically change their personality to be mean and reclusive, or at least be constantly soooo sad about how much it sucks to be disabled, right?

Do I really need to say that having your character becoming disabled be the worst thing ever is ableism 101? We have been talking about this for so long at this point. Writing about the process of adapting to a specific disability is better left to people who have actual experience in it.

To give an example that will hopefully resonate more with Tumblr users, I will use the fact that I'm also gay. It's not perfect by any means but probably much more familiar territory.

Imagine, let's say, a character. He's gay. The story he's in is supposedly progressive, certainly not trying to be homophobic. The character has experienced an incident, maybe an act of aggression or a hate crime, that happened because he’s gay, which was traumatic. Happens IRL, sure. So of course the character starts hating being gay. He talks about how gross and disgusting it is, he never lets anyone know that he could be “one of them”, certainly not take a stance against homophobia. You can't mention him without mentioning the accident, they're seemingly fused together. No gay love, joy, even basic happiness, he would actually choose to be straight in a heartbeat if given the option to and complains that he can't. This is shown as a neutral, obvious thing that a gay man would do, no one comments on it. He stays like this the whole time, unless there’s a plot twist in the last 10 pages where the world is now magically perfect ("we fixed discrimination, yay!"). This is the only LGBT character in the story.

Keep in mind that there are people similar to this in real life, living with extreme internalized homophobia.

Reading comprehension quiz time: Is this, in your opinion, realistic and thoughtful representation? How does it feel when written by a cishet writer, versus a gay writer who is recalling his experiences? Do you think that it's reasonable for the majority of media representation to be like this, or very close to it? How would it affect younger gay people who might already be uncomfortable with being queer? Are gay men the target audience, or are they not even considered as a group of people who read books? Is this helping or damaging the general public's idea of how it is to be gay? Why or why not?

The Masterpiece

[large text: The Masterpiece]

From 13 to 19 of May, we are celebrating Face Equality week (what a coincidence!). It’s important to me in general - and I wish it was more important to abled people, but I digress - especially its theme for this year.

“My Face is a Masterpiece”

Great statement, it represents the community well, I do enjoy how bold it is. Very cool stuff, I love the work our advocates are doing.

But why do I bring this up?

Well, to very non-subtly show that we aren’t a self-hating group of people. We are a community, a community saying “our faces are beautiful, look!”, we are saying “treat us equally, and do it now!”. Our activism isn’t about self-disgust. It’s about fighting your-disgust. 

Why can’t writers keep up? Why are you still stuck decades behind?

Is this the only reason I bring it up?

The Call to Celebration

[large text: The Call to Celebration]

FEI, the org behind organizing it, asks a very simple question (emphasis mine):

“Why do we so often see stories about facial difference as a ‘tragedy’, when they should be about triumph?” “Calling all artists, allies, creatives, galleries.  You can rewrite the story to bring about #FaceEquality and celebrate the unique artistry found in every face. Your participation this #FaceEqualityWeek will help to tell the real story, that there is a masterpiece in every face.”

Here. We are calling for you to stop. Directly from the biggest international advocacy alliance group that's out there. If you create, this is for you.

The last argument to not have your character with a facial difference hate themselves? Because we don’t want this. We are tired and frustrated. For me personally, I’m also offended by this kind of assumption. We aren’t tragedies or cheap entertainment for abled people to pity or be horrified by. We are people, and if you can’t internalize that, you have no reason to write about us.

For once, celebrate us. Happy Face Equality Week!

mod Sasza

[a-sky-full-of-ideas]

Why do you even ship them?

In the past couple of months I’ve seen a lot of people genuinely confused about one or the other ship existing, so I wanted to explain some common reasons characters might get shipped.

But before we get into it: The point is usually just good, plain old fun! The entertainment of them being together !

And for entertainment and fun, it doesn’t matter whether they’ve even been in the same room or not! Hell, it doesn’t even matter if they’ve been in the same universe or not! Basically: It’s all not that serious and the ppl harassing creators/actors/fans about said ships are usually the minority and frowned upon!

First of all, there are different ways in which people enjoy that ship:

In canon, aka it either is canon or they want it to be canon

Half canon, this means either post canon or if a very specific thing would have happened differently within canon

Canon divergent, aka it’s only enjoyable in theory or alternative universes and they don’t actually want it to happen within canon

In other words, there are different ways in which people support this type of relationship

It is the perfect relationship and everyone should strive to find and be this kind of love

While they have their flaws, this is a realistic way a healthy(ish) relationship can come out on the other end of all the horrors tm

This is (somewhat) toxic but in the universe/story line it makes sense and is the best possible outcome for them

This is the truly worst thing that could come out of it for the both of them but that’s why it is so interesting

Usually it boils down to these emotions:

It would be funny if they go together.

It would shift the impact of all that angst and trauma

It would be super cute. Plain old romcom vibes. Specially if the of story is not that at all and you just want something good for them.

Some basic reasons, that are more about the concept of them than actually them: :

They are fan favourites

They are both hot

Everyone else in the group is coupled up

They fit a certain stereotype/common trope

They resemble another popular ship juuuuust enough

The actors have played a couple/ship in another show

Spite! To annoy the author/other fans

Some personal reasons of the individual fan:

Reminds fan of their own crush

Fan relates to some aspects of their story

Fan relates to some aspects of the characteristics

Character looks like them/ like their crush

Based on the characters/stories design

They claim to hate/dislike/annoy each other but are somehow always found in each others business (willingly or not)

Opposites attract: They have opposing color schemes, personalities and/or views. The more differences the better.

Parallels: They have the same color schemes, personalities and/or views. The more similarities the better.

Based on their relations

You just want something good for this character and they (other character(s)) ARE that something good.

You just want something annoying for this character and they (other character(s)) ARE that something annoying.

Them being together would annoy this other character to noooo end

Even tho they don’t interact on screen (often), there is evidence that they did so off screen: they keep up a certain level of relationship (good or bad) despite everything else going on

Purely about the characters

They don’t pay attention to anything or anyone else nearly as much as they do about each other, especially ppl they should objectively care more about.

They’re the only ones who survived/left to deal with the aftermath. Even if they didn’t talk much prior to this, this is something to bond over. To keep the memory alive.

The expectations set on them are/were the same. And despite the different support systems and coping mechanisms… the other is truly the only one who could even find a glimpse of understanding of what they’re going through.

Yin and yang: a perfect mixture of parallels and opposites: They’ve gone through the same thing but deal with it widely differently. OR They come from widely different backgrounds and reasoning but end up at the same conclusion.

BECAUSE they’re so codependent they just wouldn’t make sense with anyone else, regardless of wether they themselves make sense

BECAUSE it is unhealthy and toxic and it’s interesting to explore such a relationship

BECAUSE if they’d be in literally any other genre/time they’d be fine. Nothing this bad would’ve ever happened if they’d just lived in another universe.

Why not ? It’s fiction.

These are all the reasons I can come up with at the top of my head but feel free to add!

Alas I want to encourage everyone to be open minded! Either to genuinely try to understand why a ship exists or, if you don’t want to waste your time on sth. you’re sure you don’t like, just filter and block the ship and their fans!

None of us can afford to waste our very limited free time on arguing with and harassing others about something FICTIONAL …that we don’t even like. Instead, please focus on making and/or supporting art about YOUR ship! This is not only much nicer to the fans you don’t support but also to yourself! Positive interactions will result in more positive interactions after all! Mostly.

[stackslip]

I wanna ask what’s going on with arcane but I feel like I’m opening pandora’s box 😅

the thing about arcane s1's writing, is that every plot beat flowed naturally from characters' choices, and every one of the characters' choices made sense in the context of who that character was, where they came from and what information they are working with at the time they make that decision. it felt like a tightly written tragedy where on a rewatch, it all feels completely inevitable that things would end this way because it made sense to who we learned these characters were. and said characters were layered, much time was devoted to giving them a certain degree of depth and believability (bar cait). you can criticize other aspects of s1's writing such as liberal wishwashiness but s1 of arcane was a *good* tragedy with a genuinely compelling cast! the final scene of the show is a confrontation between three major players who were all working with different information and whose motivations are completely at odds but who have a deeply personal tie, it's about jinx as the end result of the zaun-piltover conflict, it's about vi and silco being two deeply broken people who see her in an idealized version they deeply love and want her to remain this static thing they can be comfortable with until it turns out she can't be and she shatters and at the same time irreversably destroys her relationship to both, leading her in her despair to set off the ticking time bomb that is piltover and zaun's inevitable conflict!

so like, s1 has its flaws but its finale imo was perfect and made the whole thing self contained. i was ok with s2 happening. the only thing i wanted was more the dynamic character writing. i expected wishy washy politcs. and act 1 of s2 already struggled with character, but at least the plot beats were interesting and while not earned, made sense according to the characters we'd left in s1.

s2 act 2 is an absolute catastrophe, even compared to the previous act, nevermind compared to s1. it's not just that the plot beats don't feel earned, it's not just that it's missing connective tissue between them--it's that all the most interesting conflicts and dynamics just cease to exist. they don't get "resolved", they either are completely forgotten or are just waved away magically to pave the way for an utterly stupid, shlocky, wannabe shock value emotional final ten minutes of episode 6 that is honestly infuriating in how it's trying to push you to have feelings about it. i don't have any feelings besides revulsion and bafflement frankly. even before these final ten minutes of ep 6, the sheer lack of buildup or of character moments, the way characters are basically willed by the plot to be there at specific points for plot to happen to them instead of them arriving at it naturally--the way it reframes interesting aspects of s1 and s2 act 1 into shlocky, tropey bullshit--it's honestly near mesmerizing? it's like they brought in whole different new writers specifically for this who decided to back down on ANYTHING the show did that was interesting to try to instead push to the league's status quo instead, no matter how little sense it makes. i'm almost in awe. how do you mess up so badly.

this isn't just like, the plot is rushed and we need to get there as fast as possible--none of these resolutions make SENSE. jinx and vi's relationship was the core of season one, and suddenly magically jinx shows up at vi's door and vi bitches a little and then they go hunt vander down together and then they all hug because he was their father too <333 isha. i'm supposed to have emotions about isha? she sacrifices herself for.... forwhat? what? why? it's like they knew they had to kill her off to give jinx feelings and do so in the most stupid and absurd way possible, i was laughing hysterically when the music came in. it was so blatantly manipulative and uncalled for. ok i guess! sevika helps jinx and then once she's served her plot purpose she just vanishes! doesn't she wanna meet vander??? ekko's disappearance doesn't both people much i guess even his own firelights. ambessa says a single line about mel disappearing, and can i say i'm kinda infuriated that two out of three of the main black characters are just locked away from the plot and main cast for a large period of time. jayce--i guess they'll give us an explanation as to why but here it's like he just...... shows up angry and "ruins" things and that's it. whatever there was to ruin lmfao sky and viktor's heterosexuality mind palace leading to him being cyborg satan or some shit? cait finally FINALLY gets some personality, something interesting to her, she is openly a reactionary fascist who gassed half the undercity to sniff out jinx, and then she meets vi and within a solid minute is now back to being Nice and helping out jinx. i guess. silco and vander's backstory kind of completely destroys a lot of the stuff that made vander and silco's relationship to vi and jinx interesting and goes for a Family Is 5ever approach i guess.

just. i don't think there's a single thing there that's redeemable or interesting. it's comically bad. vi has no personality or motivation. she just does things. she got an emo trauma amv so that we get that she's sad but it might as well not have happened bc she barely is a character. jinx is a sad manic pixie dream girl. her psychosis is gone or barely there now apparently. sevika is plot and then vanishes when her part is done. ambessa is not a mastermind as act 1 hinted at but the most stupid comical villain alive. mel is--is she just going to come back to do a big plot thing in act 3 and then that's it? ekko the same? we have no idea what jayce is even doing or what or why. piltover and zaun are gonna ally now i guess lol. ok sure why not. why anything. why do anything at all! what's the point!

it's funny bc i was willing to give this season a chance despite act 1 being so rushed bc again, the plot points were interesting and while the characters needed more time fleshed out for their decisions to make sense i COULD see the characters making these choices and it was just a question of missing buildup. here it's like everyone is a zombie of their actual self. there's no point to anything. it's so stupid. it tries hard to play the emotion part but why should i feel any emotion except befuddlement? why are caitvi shippers happy? i'd be insulted. i feel insulted. i heard via a friend that riot had intervened in the writing more and so far i hadn't felt it but now i'm wondering if that's not exactly what happened bc it genuinely feels like the writers were fired right after act 1. what the fuck lol. i don't think i even wanna watch act 3 after this, i feel genuinely insulted that i should be expected to think this is the same show as s1 or that i should feel any kind of positive feelings about it. fuck this show so bad lmfao i'm sticking to s1 and pretending nothing happened after it. maybe grabbing some act 1 plot points for fun and that's it. it's so bad

[twobellsilence]

I genuinely can't understand why some people still think of Anya as a clumsy, squeamish, incompetent bundle of nerves after finishing the game. Like you'd think that, even before the end, players would realize that Jimmy is a very unreliable narrator, what with his manipulative tendencies, the fact that he's literally hallucinating every other scene, and how different the rest of the crew seems to act from Curly's perspective. But no, many seem to take this version of Anya at face value, and it's very sad because not only is she the most important character in the game, but that description of her falls apart once you actually think about her for a split second!

Anya kept Curly, a severe burn victim and amputee, alive with basic medical supplies. This means she had to take care of him tirelessly, debride his wounds, set up and change his IV, change his bandages, set and clean a bedpan for him... Would a squeamish person be able to do that? A clumsy person who constantly forgets about things? Would an incompetent woman who, according to Jimmy, isn't even worth her title as a nurse, be able to take care of such a high-risk patient that needs tending to like clockwork? No, of course not! Anya is driven. Dedicated. Impossibly strong. This isn't just any patient, but her captain, someone who was clearly important to her and then tried to kill everyone (allegedly), which would no doubt add an extra layer of complexity to working with him in this context. And yet he's still alive and breathing and in top shape all things considered.

The only two things that point to her being incompetent is her inability to enter medical school - the reasons why are never so much as mentioned, but Anya herself says she has no savings, and I haven't really seen anyone speculate it could be because of money, not necessarily her lack of skill - and her inability to give Curly painkillers, which clearly triggers an intense trauma response from her, so it's understandable that she'd seek help from someone else to do it. And then there's the fact that it's not just anyone, but her abuser. Would an incompetent person steel herself and try to convince her RAPIST, someone she's so scared of she literally hid the only gun on the ship so he wouldn't be able to take it, to give her patient painkillers? She could've stalled. Could've straight up given up on trying to give Curly his meds. But she would rather face Jim head on than let that happen, because she's brave, and she knows what she's doing, and refuses to let even her very real trauma get in the way of her duty.

See what I mean? It's easy to see her simply as a nervous person, who spaces out and mopes and can't do something as basic as give a guy some pills. But that's the thing - it's easy. Once you go a little further, once you spot the discrepancies between her apparent personality versus her actions and the way she behaved during Curly's sections, you begin to realize Jim is wrong about her, and you are, too.

For a fandom that likes to overanalyze anything (as you should with a game like this), it's genuinely sad how the same effort isn't always extended to Anya.

[srslylini]

season 2 has a structure problem and that makes act 1 flow naturally enough and it sets up the next acts perfectly well, but they wanted to do so much more than what they were

1. setting up

2. capable of doing in 9 episodes

had they just cut a few plot lines everything would've moved far easier. For example

1. cut the Smeech thing entirely. Sevika and Jinx don't need this to find themselves together and start a found family. That scene In Silcos office was so moving and everything I always loved about Arcane, stuff like this is what's needed. In fact move the prison break to act 1 and have them handle that together, Jinx can still make Sevika her arm, and everything could've still moved the same. It would've fit so much better and there also would've been so much more time to develop anything else with the magic system and act 2 wouldn't feel like it was overflowing with anything and everything. Isha is a character that as of in the show can be cut so easily and that's so sad because she'd be so interesting. Everything about her would've worked and SHOULD HAVE worked but she also just felt like Plot and a thing to make Jinx sad over again. Either don't do that or make Isha not a character like this???? I liked her scenes with Jinx so much and the scene with Jinx freaking out after finding out that Isha was taken to prison was genuinely so good, I'm still holding on to the hope that they didn't actually kill her

2. either cut that shit with the tree because let's be so honest that basically only happened so that Heimerdinger, Ekko and Jayce could meet, since we do NOT even really talk about the tree in act 2? that was so weird. Like either actually make it a thing or find different ways to let characters meet naturally. I dont know, the show was so good with that in season 1. And if they truly wanted the tree scene at least make it make sense and don't randomly drop it Idk.

3. I LOVE Mel she is like my favorite character but the plot with the black rose takes so much necessary time away from what we actually need to focus on. I heard they want to make different shows so they are setting this up but it just doesn't work. Mel could've so easily been integrated into the main plot line and it would've also made so much more sense at that. Though I'll just wait on act 3 before I judge too hard. (if they actually DARE to make her pregnant Istg)

4. Making Jinx that hero character for only like, what, a few seconds was so strange. I hope act 3 gets that better but that, first of all, happened mostly out of no where and a few touches to her shoulder after the prison scene was also not??? helping??? either set that up from the very start or don't do it at all. She isn't a hero, she is a tragedy and someone who needs help and room to breathe. The scenes where they tried to make that funny, in my opinion didn't land at all. She doesn't need a hero complex she needs calmness and stable relationships. Let Isha live I swear to GOD.

in fact that leads me into the next point

5. Have Vi realize she doesn't want to be an enforcerer sooner? I actually do like how rushed that part felt don't get me wrong, but if they wanted a reunion between Jinx and Vi don't randomly put it into act 2 with barely any build up. Let Jinx and Vi realize it during the fight, they kinda did do that but??? just didn't move that anywhere. it's so strange. If they had cut the Smeech stuff they could've easily used the third episode to make Jinx and Vi slowly reconcile. Which also means I think Vi would've been such a better "symbol" than Jinx. Vi and Jinx, for me, show what Zaun is made of, and Jinx is quite literally the valid pain, distrust and anger of Zaun, and she as well as Zaun desperately need healing. Like that would've been SO COOL. that's just my opinion though, so there is that.

6. If they had made Vi the symbol the conflict between Caitlyn and Vi would've felt a lot more natural as well. Like??? Also Caitlyn should've had so much more time if they wanted that switch up in the end to work. Cut the black rose stuff and that would've worked perfectly fine.

7. Now do NOT get me wrong, Ambessa's character is so interesting and I feel like exploring her is so cool but she and her plot just doesn't fit into the Piltover/Zaun thing. It makes it too big for what the show is. In fact I (and now this is just my opinion, anyone can have their own just saying lmao) would've either cut out Ambessa's character/plotline or subtly continued Ambessas drama with Mel, which would give Mel, who didn't get taken by the black rose in my version, a lot more to do and way more interesting stuff too. Again this is very much my opinion and doesn't mean anyone needs to share it, but I feel like they could've easily made Heimerdinger be the one who gets Caitlyn to where she was/is with Ambessa. It would've expanded Heimerdingers character and it would've stayed in the setting they already perfectly build up, Piltover and Zaun. Also, Heimerdinger wouldn't just feel like a random joke character anymore.

8. The Pit fight stuff could have been SO interesting and I feel had we not stayed with Viktor Christ so much which was also so weird at times, we could've gotten so much necessary insight on Vi. If we follow my idea it could've been Vi forced to be a symbol because of the person she is. The embodiment of Zauns loyalty, strength and resilience. And then the fights that will come out of that forcing Vi to face so much stuff she shouldn't etc etc (I haven't fleshed that one out yet don't come for me) and that could've ended in her pit fighting era, which should've taken at LEAST an episode and not a random montage that just gets forgotten??? for no reason at all. Really hope act 3 talks about that cause??? I feel with Vi as the leader the healing of Zaun would make so much sense, because Jinx realistically can't do that. The idea of Jinx being in that position IS interesting I just feel it wasn't established/developed enough.

9. I really really liked how from the very beginning Viktor's safe haven did not in fact feel safe. There was always a very uneasy feeling and that's what I love about the show. I was always waiting for the shoe to drop and it happened, that was amazing. Though I would've either established a lot of this way earlier on in the show or made it not so, and now walk with me here Ik its magic, unrealistic. That does sound strange but having Viktor suddenly float in space with white silver flowing hair and his dead assistent next to him was... very very out of no where. It was like a lazy show trying to get away with "yeah well it's magic so of course this works" and I hate that because even magic needs explanation and build up. So yeah. Either cut that shit out or have it established sooner. And while seeing the one person who helped Jayce as a kid did kind of help, it still wasn't enough for THIS, though again MY OPINION. Also we spent way too much time there, it was getting ridiculous. So much time could've easily been lent to stuff that actually needed it. I actually laughed out loud when Viktor started the healing process with Vander because come ON now, and I do not think they wanted me to laugh.

10. The stuff with Vander, Silco and Felicia (while cute) was unnecessary and weird. What I liked the most about Vander taking in Vi and Powder was the feeling that he didn't do it because he necessarily knew them very well but because he knew their mom was dead (that did show he and their mother did kind of know each other but so do like all the people in the lanes that is kind of established) and wanted to PROTECT. This new context sadly makes it feel like "well of course he stopped everything and took them with them and cared for them he knew them since birth, duh" when I always wanted to feel "well Vander is in his heart a good man who saw what terrible stuff this war and fighting did and then took in orphaned children because of course he would do that" if that makes sense? I feel this new thing took away so much from Vander, but again that's maybe just me.

11. So many jokes and scenes didn't land with me. The scene with Jinx trying to show Sevika her middle finger was SO GOOD and so Arcane that seeing the scene were they try to make it funny with Jinx's trousers and that enforcerer felt so out of place? Like what. That scene could have EASILY been cut and nothing would have changed at all. And that's what is the worst because there isn't one scene in season 1 that I feel could've been cut and there are so many of them in season 2.

12. Introducing Maddie in act 1 made me believe she'd be a bigger, even more of a threat to Zaun, character than she was and that's so sad. What I loved about season 1 is that every single character mattered. Even those we saw maybe once. This time around I hardly cared at all for any new character because they didn't feel like a Person anymore, they just felt like Plot. In season 1 episode 1 there is this scene, the first scene Vander gets to speak in. The only reason Huck meets the woman and the man to trait was basically so we get to know how the undercity works and establish Vander as basically its leader and protecter; The one people are loyal to etc. But it doesn't feel that way. It's something that naturally happens and every character in that scene, even the man and the woman we never see again, mattered and felt real.

yeah so those were really just my thoughts. I could very much go on but I also don't want to.

[dinogoofymutated]

SFW!Colossus/Fem!Reader

I've been infected with another fictional man the way in which I pumped this out was ridiculous. I happened to re watch the scene in the movies where the government breaks into the mansion and seeing Piotr act like a big brother/dad to all the kids really got to me. That and the Deadpool movies (even though I thinks he's a little stuffy in those.) I even rewatched the episode he had in the animated series so that I knew I would get his character right and DAMN ugh god I juts have a thing for big men with soft hearts. especially the ones who are family oriented.

ALSO HOLY SHIT TY FOR 600 FOLLOWERS???? when did yall get here???? I swear I was at like 48 two weeks ago lmao time flies when you're thirsty for the X men I guess!! TWs: None? No pronouns mentioned but I went ahead and labeled it as fem because it's basically about kids forcefully adopting you as their mom. Kids having night terrors mentioned.

Can you imagine sort of just being adopted by the students at the mansion as mutant mom?? At that point you don't really get a choice. Like you start out being very patient with these kids and making sure to keep bandaids, burn cream, pain meds and all of that because one way or another something is gonna happen- and you want to be prepared.

And then you start making breakfast. I feel like normally they probably have a schedule for who has breakfast duty but if you wake up and can't go back to sleep and you take over no one really cares. More sleep for them!!

And then a few times turns into every morning. And you're setting out ketchup for one kids eggs and syrup for another ones hashbrowns- and making sure not to cook with nuts and make sure there's at least three different things on the table that are Kosher or gluten free. Keeping an eye on everyone as they come to get food and noting who did and did not make it to breakfast this morning so that you can make sure they eat later-

And one day you're waking up at 5am and getting ready for the day so you can go make breakfast like always, and you look in the mirror at some point and just realise, holy fuck, when did you become a parent?

It's such a regular thing for kids to call you mom at that point, a knowing how so many of them have come from rough backgrounds, it makes you really happy to know they find comfort in you and will come find you if they need comforting.

And then there's Piotr. Big, strong, Piotr. Piotr who wakes up before dawn and does chores around the mansion in the early morning air. You can take the man out of the farm, but you can't take the farm out of the man. He does the lawn care, chops wood, takes care of whatever animals that might need feeding, replaces the feed in the bird feeder.

Piotr who makes sure to stop by the kitchen to share a small cup of coffee with you before he does chores. Piotr who hangs Hummingbird feeders right outside the kitchen windows because you mentioned you missed the ones your grandmother used to hang. Just Piotr, being strong and masculine and an absolute sweetheart.

He reminds me of that one quote that heard somewhere about masculinity being about protecting femininity, not rejecting it??? That one!!!

Kids call him dad all the time, and even though yall aren't even together, you become the parents of the school. Scott and Jean?? Love them, but they don't have that same kind of parent energy.

It's such a regular thing for kids to find the two of you interacting one way or another. Someone woke up way too early and enters the kitchen to find yall during your coffee, and there's a sweet moment with yall telling them to go back to bed, or offering to make them a quick breakfast. Maybe if they're really young Piotr will offer to tuck them in. He might be really blunt when telling them there are no monsters, but will be a little more gentle when you set a hand on his arm and give him a bit of a look.

The kiddo asks for both of you to tuck them in and you obviously aren't going to refuse them. Which leads to everyone wanting both of you to tuck them in and soon enough you two are doing curfew checks instead of the professor.

It's becomes so regular for the students to treat you two as their parents, and no one actually believes it when they find out that no, you're not a couple. So, they do what kids do and try to get you two together.

First it starts with making sure you two are sat together during everything they can get away with. Then it moves on to things like mistletoe (out of season, Piotr mistook it as an accidental bloom made by one of the agrokinesis kids and took it down) and then more mischievous plans like telling one of you that the other needed help with one thing or another, knowing that either one of you would help out at the drop of a hat. Sureee, they were lying, but you two didn't know that. (most of the time)

The kids just want to see their parents happy and in love. There's nothing wrong with that, is there? It's not like You and Piotr hadn't been helplessly pining for the other the entire time anyway.

You sigh deeply once you finally sneak out of the dorm room, Piotr right behind you. The tall man takes extra care to shut the door very gently, making sure it clicks in place just as silently.

"I thought we were never going to get her to sleep." You whisper to him. One of the youngest girls attending the school had a rather difficult time with night terrors, and would struggle to fall asleep without being tucked in. When you and Piotr were doing curfew checks tonight, she was the only kiddo still awake, and she had practically begged both of you to stay with her untill she finally did fall asleep. It couldn't be just one of you, It had to be both. No matter how many rooms you both had to check tonight, you would never have left her shaken up in such a state. You just hadn't expected it to take an hour.

"Illyana had similar dreams as a little one. It takes time for children to overcome it." Piotr whispers back as you begin to walk down the hallway to check the rest of the rooms. Even when he whispers, his voice is strong and hard to keep quiet. You know there's truth to what he says, and yet you can't help but wish you could do something more to help her with her nightmares. You rub some warmth into your arms anxiously as you think about it, surprised when you feel the warm weight of Piotr's hand settle in between your shoulder blades.

"You're worrying again." He states, frowning slightly when you look up at him. You send him a resigned smile, before it quickly falls as you look away.

"I can't help it. I worry about all of them, her especially. They just... deserve so much more than their lot in life." You say. Piotr hums in response, his thumb brushing idly against your back.

"Their life like us, you mean? Mutants?" His question makes you wince.

"No. Yes? I don't know. I just... I just wish that we could give them more than... this." You say, waving your hands to motion about the mansion. "The school might very well be the only safe space they have their entire life. The world hasn't been kind to them, and I'm not sure it ever will be." Your words begin to quiet down as you finish the sentence, lowing to a whisper that only he can hear. You'd never, ever want any of these kids hear a word of what you're saying. Knowing that hope is really all they have at their age, and you of all people refuse to be the one to destroy that beautiful childlike optimism.

"That is what we are working for as the X-men, yes? To change that?" Piotr asks you point blank, his hand moving up towards the back of your neck in a soothing manner that still gives you goosebumps, feeling the comforting heat of his hand even stronger than before.

"Yeah, but..."

"Then we are doing all we can." He finishes, a smile on his face that's so determined and confident that it very nearly changes your mind completely. Nonetheless, it's a reassuring smile that makes your chest feel warm and fuzzy. You smile back at him finally, and you swear you see fondness in his eyes.

It doesn't take long before the two of you are finally at your door. You give Piotr a short and sweet goodnight as you begin to step inside, but he stops you before you go, gently catching hold of your arm. For the first time, you think you've seen him debate on his words. His mouth opens, but he doesn't speak at first, and you swear you see a blush rising to his cheeks as he does so.

"You'd make a good mother." He says eventually, and it makes you smile widely.

"You'd make a good dad." You tell him. There's silence between you as he brushes a stray lock of hair away from your face in a fond and caring manner, and you swear you could trick yourself into believing that you and Piotr were already in domestic bliss if this moment goes on for any longer. The tall man leans in, and you find your mind short circuiting as he presses a kiss to your forehead. The simple action somehow leaving you beyond flustered.

"Sleep well, Любовь моя. I will see you in the morning." Piotr tells you, before walking off at his regular stiff pace. You stand in your doorway for a minute, watching him leave with a bit of a confused smile on your face. Out of all the Russian nicknames he's called you in the past, you had never heard him say that one before. You wonder if you should pick up a book on the language as you close your door and finally crawl into bed, although part of you is content to leave it be. Colossus had always been blunt, and you're sure he'd tell you eventually. You fall asleep just as you always do, excited to see him when you wake up in the morning.

[velvet4510]

Why Magneto’s Storyline in X-Men: Apocalypse is The Worst (it’s not just Cherik)

Ok I just need to vent because this has been chewing away at my brain for far too long.

Cherik is far from the only reason why Erik’s family plotline in X-Men: Apocalypse is some of the stupidest, sloppiest, and most character-ruining pieces of writing I’ve ever seen. Haters may say “oh you’re just upset because he married someone who wasn’t Charles.” But, like, aside from the fact that the original timeline already established that Erik’s top priority was always the fight for mutantkind and he had no interest in settling down - whether that had anything to do with his feelings for Charles or not - the problems with the Apocalypse writing go WAY beyond just him & Charles:

Erik would never abandon his cause at this point. By the end of DOFP, Erik has just been imprisoned for a full 10 years thanks to the JFK situation. Meaning he has spent a full decade being forcibly inactive in the fight for mutants. And he just learned that all of his fears about humans and mutants came to pass in the future to the level where a time-traveler had to be sent to change the past. And he was so set on averting that future that he tried to kill his friend and the sister of the man he loved, and then made a whole speech on international TV begging for the mutants of the world to fight alongside him. This is the POLAR OPPOSITE of a man who would feel like settling down and walking away from the fight within the next decade. The Sentinels being cancelled did NOT make mutant life easy overnight; Stryker was still up to no good, and there is no way that there weren’t others like him doing the same. Yes, Raven’s actions made a very positive difference, but I think we have enough brain cells to agree that this did not mean things for mutants immediately became sunshine and rainbows to the level where Erik - the most (understandably) paranoid character in the X-Men series - would even consider taking a break, let alone giving up the fight permanently. Knowing what he did about the possibilities of the future would’ve made the Erik we know double down on his commitment to his cause and follow up on his actions in Washington.

Erik wouldn’t risk starting a young family at this moment in his life. Erik was a Holocaust prisoner, his people were massacred, his mom was shot when he couldn’t move the coin, and then Charles was shot when Erik accidentally deflected a bullet into him, and then every member of his Brotherhood save Raven were captured and killed. Not only is this more than enough grief for one character to have, but the man wouldn’t dare risk having a new family of his own when everyone he’s ever loved has gotten hurt (largely because of him), and when he’s an international fugitive. That is no time to risk being selfish, and he would know. He would’ve been the first to realize that a potential spouse and child would also end up killed, and so he’d avoid that altogether. In fact, he wouldn’t even consider it, because, as mentioned, he wouldn’t leave his cause behind. You know, if he was actually in character.

Magda is a human. At this point, Erik hates humans. Again, he has just been imprisoned by humans for 10 years for trying to save a mutant, and he just learned that in the future, humans would’ve wiped out mutants, exactly as he feared. Everything that happened in DOFP would only further inflame his already-passionate hatred of humans. He is not in the mental state to even begin to consider Charles’ philosophy and give a human a chance at a relationship, let alone marry a human.

The family lives in Poland. The country where Auschwitz is. The country where Erik and his family and people was imprisoned, tortured, and executed. The country where Erik had to watch Shaw kill his mother. Basically the LAST country in the freaking WORLD that Erik would want to ever see again, let alone spend the rest of his life in. Erik is fluent in multiple languages - he is shown to easily converse in French and Spanish in First Class - and has been all over the world thanks to his Nazi hunting, so if he really needed to flee the U.S., there were a hundred other countries he could’ve gone to and blended into (Canada, France, Mexico, anywhere in South America, heck, he even could’ve discovered Genosha during this time). But in the original timeline, he didn’t leave the U.S. at all despite being a national fugitive after escaping his plastic prison, and he never did get caught again, so….

Erik’s first meeting with Magda is completely OOC for him. Erik mentions that he told Magda who he was the first night they met and he trusted her then. EXCUSE ME??? Erik Lehnsherr does not trust strangers. Erik Lehnsherr does not tell the complete truth about himself and his past to just anyone; look at how deeply Charles had to probe before Erik opened up to him. This stupid line was obviously shoehorned in just to make their relationship seem like perfect soulmates and thus ensure it is doubly tragic when she gets thrown in the fridge 5 minutes later (more on that in a sec). Obviously the intention is for the audience to go “aww, he instantly trusted her, she instantly accepted him, this is true love…” Give me a break. You’re really telling me that Magda met this stranger one night, found out he was none other than the international fugitive who apparently killed the U.S. president and just tried to kill another president on live TV, and went “oh, no problem, honey, let’s make a baby and live the cottagecore dream!” That’s some BS if I’ve ever heard it, and I’m convinced the writers subconsciously knew it; there’s a reason that is revealed in a throwaway line rather than shown onscreen, because then nobody would’ve bought it.

Fridging. Magda and Nina exist in the movie for one reason and one reason only: To get brutally killed and give Erik even more grief and trauma so that he’ll seek revenge on the entire world, aka do what the plot demands of him, aka have the same journey as he did in First Class (more on that in a sec). That’s all. Neither of them are any more than one-dimensional plot devices. They are not characters at all. Magda isn’t even named in the actual movie (he doesn’t even say her name when she dies) - it’s so obvious they didn’t even know what her name would be when they made the movie. This is textbook fridging, and one of the worst examples of it of all time. It’s all the worse considering that Erik never met Magda in the original pre-DOFP timeline, meaning Magda originally most likely lived a long happy life and died old in bed. But now, she gets fridged just because the writers didn’t know what more to do with Erik. It’s misogyny of the highest level.

A parenthood story for Erik was already set up. DOFP already hinted at Erik being a father, with Peter’s comment about his mom. So if the writers wanted to show Erik as a father, and to include Magda, they already had a solution that would seamlessly flow from the previous film - make Erik and Peter’s relationship one of the centerpieces of the story, and let Magda be Peter’s mom! (You know, like she is in the comics!)

It doesn’t contribute anything new to Erik’s character development. From a screenwriting POV, this is unforgivable. May I remind you that Erik’s entire storyline in First Class revolved around grief and trauma for the loss of his family and people, especially his mom, and seeking revenge for it. Giving him a wife and daughter just so they can get killed too adds absolutely NOTHING to his character development. It’s merely retreading everything that already happened in his arc: he loses his family and goes on a roaring rampage of revenge. Completely superfluous, right down to Charles insisting that there’s good in him beyond the pain. The redundancy becomes apparent even in the dialogue, where Charles literally says “I told you since I first met you there’s good in you too.” The script itself can’t help but point out that all of this has happened before and literally nothing new has been added to Erik’s character arc.

See? It’s not just because of Cherik. Erik’s story in X-Men: Apocalypse is an atrocity in basic screenwriting and character development, on every level. And I will always despise it.

(Please tell me I’m not the only one who feels this way…)

[atlabeth]

dance until we're bones

pairing: aaron hotchner x fem reader

summary: you and hotch both confront a lifetime of things left unsaid when a case forces your past into the light.

a/n: so i started this. two years ago. got 1k in and left it, came back now for some reason, wrote like a freak until it was done. lol. this is quite heavy and different than most things i usually write and it is SO much longer than expected but im very proud of it 🫶 i didn't really pay attention to the canon timeline so just know that reader and hotch were in their early and late 20s in law school (90s) and early and late 30s in present day (early 2000s). title from i lied by lord huron and allison ponthier

wc: 17.2k

warning(s): a lot of angst. typical bau case stuff, murder (familicide), implied/referenced past child abuse, reader and hotch go at it basically the whole time, character death, kidnapping, slight mention of drugging, injuries, mentions of blood. i wouldn’t say a happy ending but a hopeful one

Hotch can barely stay awake. 

He got the call thirty minutes to 4 a.m, and if he hadn’t already been up, he would likely be in a much worse mood. He can only hope that the rest of the team has gotten used to rude awakenings at this point. 

It’s poor planning on his part—he already got out late due to extra paperwork, and once he got home, he found himself staring at the wall, and then staring at the ceiling. If he’s lucky, he’ll get to sleep on the jet. If things go the way they usually do, he won’t be out until their first night in a hotel. 

He started making calls to the team on his way to the office, but to no one’s surprise, he was the first one there. He had time to wash down a shitty office coffee and get started on a second one by the time everyone’s there. 

Morgan, Prentiss, and JJ all have coffees—JJ comes prepared with her own thermos, but Morgan and Prentiss fall victim to the BAU’s supply—Reid is fighting back yawns as he tries to fix a hastily made tie, Garcia is slightly less energetic than normal as she passes out files, and somehow Rossi looks the same as always. 

Hotch just hopes he’s put together enough to make the team feel better about being here at an ungodly hour. 

“Welcome, welcome, welcome,” Garcia greets, setting down the last folder in front of Reid before taking her spot next to Hotch at the front. “As lovely as it is to see all of you this morning, I’m afraid that we’ve got a grisly one on our hands, hence the hour.” 

“Great,” Prentiss mutters. “How bad is it?” 

“Three married couples have been murdered in St. Louis, Missouri in the past two months, with the most recent one happening yesterday,” Hotch says, and Garcia grimaces as she clicks onto the pictures. “Mom and dad are killed, but the children are spared.”

“Awful lot of similarities between the parents,” Morgan says dryly as he flips through the folder. “Looks like our killer has some family issues.” 

Reid nods. “The unsub likely stalks these families once they see the similarities. I’m guessing he was abused as a child, seeing as they kill the parents but keep the children alive.”

“Probably has a grudge against his father,” Prentiss remarks. “They make it out the worst every time.”

“There’s no method to the torture,” Morgan says. “It looks like he’s just trying to make it hurt as much as possible.” 

“Our guy probably isn’t trained in anything, then,” Rossi says. 

Reid flips to another page in the file. “Serial killers like to see their victims suffer. If he’s not torturing the mom physically, then he’s likely making her watch.”

“He doesn’t kill children, though,” JJ notes. 

“Maybe he thinks he’s doing them a favor,” Reid says. 

“The unsub sees himself in the kids?” Morgan suggests. “He’s doing what he didn’t get the chance to do.” 

“Whatever it is, we have to keep a tight hold on this,” JJ says. “The press eats this stuff up, and the last thing we need is a terrified city making it harder to do our jobs.”

“Especially with families being killed,” Morgan murmurs. 

JJ sighs. “I’ll draft something on the jet and make some calls when we land.” 

Hotch nods and he closes his file. “Wheels up in thirty. I hope you’re all ready for a long day.” 

-

The jet is silent the entire way to Missouri, full of sleeping agents trying to delay the inevitable—save for JJ scribbling down notes on a legal pad for the first thirty minutes, but even she knocks out sooner rather than later. Thankfully, Hotch manages to fit an hour in himself, though it doesn’t do very much for him. He spends the rest of the time reading through the case file. 

The team settles in quickly at the city’s precinct, and Hotch takes charge as usual. The uniforms are just as tired as they are, but he makes it work. Soon enough, JJ is off to work with the local liaison to craft a narrative, Reid has situated himself in an empty conference room to get to work analyzing maps with Garcia, and Hotch and the rest go to check out the crime scene. 

It’s brutal—much too brutal for this early, but Hotch forces the emotions out of it and gets to work questioning the present officers. Morgan follows suit, with Prentiss and Rossi going to investigate the rest of the house. 

They don’t learn much from the officers that they don’t already know. This is the most recent crime scene—George and Marsha Springfield, undeserving of such a grisly fate. Their two kids, 8 and 9, were off visiting their grandparents in Nebraska when it happened, and though they avoided the same fate, they’re going to deal with a lifetime of guilt. 

It’s all Hotch can think about as he examines the first body. The six children left to deal with the carnage, about their past and future marred against their control. 

All he can think about is Jack, and the dreary fate that awaits him if his father falls in the field.  

Hotch swallows his doubt and his guilt all in one and forces every thought out of his mind. He has to be unshakable for the team, for what’s left of these families, for a city on the brink of hysterics. 

They’ll find whoever did this. That’s what gets him through it. 

They spent early morning at the crime scene, collecting evidence and gathering information from the officers and trying to make sense of the killer’s motive. Progress is slow, partially because of the hour, but they make enough that Hotch feels comfortable moving onto the next job.

Their four a.m. start time was too early to go knock on doors and get interviews, but now it’s a more normal 10 in the morning. After a quick stop back at the station to share information with Reid, Garcia, and JJ and down a few cups of coffee, they get right back on the road.  

Hotch and Prentiss take one van and Morgan and Rossi take the other, splitting up to get what they can from interviews. It’s difficult working with kids, especially with such recent trauma, so they hold off on it for now, allowing the local uniforms that have been with them for a bit longer to set things up before the BAU tries anything. 

First they go to a neighbor’s house, then an alleged eye witness. They don’t get much other than personality reads, but it at least gives them the beginnings of a profile. The third place they hit is their earliest idea of a suspect. 

“Lucas Hartford,” Prentiss reads off the file one of the local officers had put together. “Thirty-nine, born and raised in St. Charles, Missouri. High school degree, but never got to college because he was in and out of jail.” 

“What has he been charged for?” 

“Booked a few times for public intoxication and convicted three times for assault. Once was for third-degree assault, Missouri’s version of aggravated assault,” she says. “He got out of jail a little less than a year ago, and it looks like he’s been living in St. Louis for some of that.”

“Assault and drinking is a far cry from serial killing, even aggravated,” Hotch says. “What makes him a suspect?”

“Both parents are dead,” she says. “And from the looks of it, it was not a happy home while they were around. He’s got a sister, so it fits the initial theory of trying to replicate his family.”

Hotch lets out a loose breath and nods. “We’ll start there. Try and get a story from this guy, build a profile, see if it matches the one Morgan and Rossi have made for their guy.”

“And hope we pin something down before more bodies show up,” Prentiss murmurs. 

They’re at their destination soon enough, and Hotch parks in an open spot on the other side of the road. His eyes dart around as they walk up to the front door, filing things away in the back of his mind. 

The house number and last name—1432, Hartford—on the mailbox plagued with rotting wood. What there is of a yard is poorly cut, and a small garden of wilted flowers has their own corner, victims of the winter weather. One car is parked slightly crooked in a small driveway—there’s no garage, so at least he’s probably home. Two potted plants sit on either side of the door, thankfully alive. 

“Remember,” Prentiss says as they come to a stop together, “be nice.” 

“I’m plenty nice,” he murmurs, and she huffs the slightest laugh. 

Hotch knocks on the door as Prentiss fishes around for her ID, and thankfully, they don’t wait long. The door cracks open after a few seconds to reveal a woman—certainly not their unsub, but something a whole lot more surprising. 

You.

Your brows furrow at the sight of him, and Hotch has to hold back his shock. 

You don’t live in St. Louis. And your last name certainly isn’t Hartford. 

“Aaron?” you ask in disbelief, and he doesn’t even have to look at Prentiss to know the questions he’s going to get later.

He says your name, able to control his surprise with only the slightest crease of his brows giving it away, then corrects himself just as quickly. “Miss Hartford. My name is SSA Aaron Hotchner, and this is SSA Emily Prentiss. We’re here with the FBI.” 

Your frown deepens as they show their IDs, and you actually take it from Hotch, skeptical eyes scanning over it for much too long. You glance back at him as you hand it back over. “What is the FBI doing here?” 

Emily clears her throat as she puts her credentials away. “We’re here investigating the latest murders in St. Louis. Can we come in?”

“The murders?” you ask with exasperation. “What— what murders? And what do I have to do with them?” 

Aaron notices the way your grip tightens on the door just the slightest bit, and a shred of sympathy strikes him before he speaks up.

“We’ll be able to explain everything if you let us in,” he says. 

You swallow thickly in your throat, your gaze darting back to Aaron before you finally nod. “Okay. Sure. Why not?”

You move and Hotch and Prentiss walk inside, gesturing with a hand towards your living room as you shut and lock the door behind them. “Take a seat. Uh— do you guys need anything? Water, or coffee, or…” 

You trail off, and Prentiss shakes her head. “Thank you, but that’s not needed.” She takes a seat on the sofa, but Hotch can’t stop himself from looking around the house. 

It’s a small place, one story—likely rented, seeing how paintings sit on countertops and mantels rather than hanging on the wall. It has a certain charm to it, but something is off about it all. 

Two styles clash—decorative pillows at odds with a filled and painted-over hole in the wall, an attempt at neutral tones ruined by dark articles of clothing scattered around, one person’s mess barely being held back by another’s cleaning efforts. You lived with someone else. Likely Lucas Hartford, possibly their unsub. 

“Are you gonna sit down, Aaron?” you ask, snapping him out of his profiling haze. “Or do you want to look around some more?” 

“I’m sorry,” he says, clearing his throat as he walks over and sits down in an open chair near Prentiss. “Just curious.” 

“That makes two of us,” you say, and you cross your arms as you look at him. He notices that you don’t sit down yourself, and there’s still a coldness in your eyes. “You’re FBI now?” 

He nods. “I had a change of heart.” 

You huff a laugh. “Thought at least one of us would be a lawyer by now. I guess not.” 

Hotch frowns, but Prentiss takes over before he can continue on that particular thread. “Miss Hartford—”

You interrupt by saying your first name, and it spurns something strange in his chest. It’s been over a decade since he’s heard your voice. “You can skip the formalities.” 

Prentiss nods and repeats your name. “As you know, we’re investigating the murders that have been occuring in the St. Louis area.” 

“And you think I have something to do with it?” you ask, the accusatory edge to your voice not lost on him. 

“Not you,” Hotch says. “Do you know a Lucas Hartford?”

“He’s my brother,” you say, and your frown deepens. “You’re not saying—”

“No,” Prentiss interrupts, “we’re not saying anything. We’re just asking.”

And just like that, your entire stance, your visage, it all changes. Hotch can sense the walls slamming up around you, and he immediately realizes two things: 

Getting information out of you is going to be much harder than planned, and you’re not anywhere near the same person you used to be. 

Hotch doesn’t know what he expects, really. He graduated with the intent to prosecute for at least a decade—now, he’s with the BAU. It’s not fair to assume you’re that same girl he met in law school. 

“My brother is not a murderer,” you state clearly.

“And we aren’t accusing him or you of anything—” she starts. 

“Me?” you interrupt, and you let out a harsh laugh. “I’m a suspect too?”

“If you would allow Agent Prentiss to finish her sentences, you would be less upset,” Hotch says. 

You glower at him, but you stay silent. 

“We aren’t accusing either of you of anything,” Prentiss finishes. “We’re just trying to gather information with what little we know.” 

“I know my rights,” you say, unflinching gaze still meeting Hotch’s. “I don’t have to tell you anything.”

Prentiss looks at him as well, but his eyes don’t leave yours. “That’s unfortunate to hear, Miss Hartford.”

“You know my name, Aaron. Use it.”

He does, and the letters feel strange on his tongue after so long. “This is a serious matter. This isn’t an accusation—we’re in the early days of this case and we need all the information we can get.” 

“Ask away,” you say. “Doesn’t mean I’ll answer.” 

“Lucas Hartford,” Prentiss starts. “He’s your brother?” 

You nod. “He lives with me.” 

He lives with me, not we live together. Makes him think that you pay for the place, he came knocking, and you didn’t have the heart to turn him away. 

“Why is that?” Hotch asks. 

You look at him, those scrutinizing eyes attempting to peer into his soul the same way they did all those years ago. But Hotch has changed since law school, and he’s much better at guarding his emotions. It seems you are, too. 

“He’s a student,” you finally say. “He goes to community college. I’m giving him a place to live while he gets his associate’s.”  

“Community college and living with his younger sister at 39?” Prentiss is trying to get information out of you, even if it isn’t in the kindest way. Your jaw clenches, and he knows her words have some effect. You’ve probably heard it more than once, the way things are going. 

“He’s getting his life back on track,” you say defensively. “I’m the only one left that can help him, so I am.” 

“What about your parents?” she asks. “Surely they’re a better option than this.” 

“Both dead,” you answer. “And no one else cares enough to help him. Are you here to do anything other than dig up my past?” 

Hotch feels Prentiss’s eyes on him, likely because it’s a step in the right direction for a really shitty reason, but he can’t look away from you. 

“Really?” 

He knows your parents are dead—it was in your brother’s profile, and by extension it applies to you—but it still hits him. 

He met your mother, had countless lunches and dinners with her. Helped her move out of her old house. Spent two Thanksgivings and a Christmas with her. 

And he didn’t even know when she died. 

You shrug and wrap your arms around yourself, and for the first time you look something other than defensive or standoffish. You look— well… sad. 

“Mom went a few years after you graduated,” you say, looking at Hotch. “Dad went last year.”

“I’m sorry for your loss,” Prentiss says. 

You nod your thanks, the notion a bit numb. 

“You never told me,” Hotch says with a slight frown.

“We haven’t talked in ten years,” you say. “Sorry that I didn’t know you still wanted updates.” 

Hotch tries to think of something to say in response, but Prentiss starts getting a call and she stands up. “Excuse me.” 

His jaw clenches for a moment as Prentiss ducks into a nearby bedroom, but he’s recovered by the time you look at him again. Your arms are crossed, but your expression is even. 

“I take it this was as much of a surprise for you as it is for me.” 

Hotch nods. “We came here looking for your brother.” 

“Does your team know about our history?” you ask simply.

“No.” 

“Do you want them to?” 

“…No.” 

You huff a laugh, your eyes narrowing a bit. “‘Course not. Probably counts as conflict of interest.” 

You wait another beat, then ask another question. “How’s Haley?”

“Good, last I heard,” he says, and then he hesitates. “We’re… divorced.”

Your eyebrows shoot up. “Really?”

He nods. “This job isn’t easy for anyone.”

You look like you want to say more, but once again, Hotch is saved by Prentiss as she walks back in. Her phone is closed in her hand and she looks at him. “Morgan and Rossi have a lead. The chief wants everyone back at the precinct to go over everything we’ve found.” 

Hotch nods again and stands up. Prentiss takes her card out of her pocket and holds it out to you. 

“Thank you for your time, Miss Hartford. If you find out any information, or want to tell us anything else, please give me a call.” 

“Pass that along to your brother, too,” Hotch says. 

You reluctantly take the card, but you don’t look at it. “You can see yourselves out.” 

Prentiss nods. “Thank you again. Have a good day, and stay safe.” 

She leads the way, and Hotch follows after her. He fights the urge to look back before he shuts the door. 

Prentiss looks at him as they walk back to the car, and he can only imagine what is going through her mind. But eventually she just shrugs and pulls out her phone again. 

“Garcia?” Prentiss asks after she picks up. 

“You’ve reached the office of all that is holy.” Penelope’s voice comes out through the speaker, and Hotch can’t help the smallest twitch of his lips. “What’s up?” 

“Dig up everything you can find on Lucas Hartford,” Emily says, and her glance at Hotch does not go unnoticed. “And throw in his sister, too. He’s one of our only suspects, and we need to know if she’s in on it.” 

“On it,” Garcia says. “I’ll call you back when I’m done.” 

“You’re the best,” she says, and then she hangs up. They get back to the car, and it only takes Prentiss all of five seconds after they get in for her to start drilling him.

“Alright,” she says, buckling her seatbelt with a click before she sets her attention on him. “What was that back there? You two know each other?”

Hotch busies himself with his own seatbelt and starting the car, answering as casually as possible as the engine revs to life. “We were friends in law school.”

“Sure,” Prentiss nods. “The way you were around her, that’s not just ‘law school friend’ stuff.”

Hotch is once again reminded of how, sometimes, it was a downfall to constantly be around profilers. It was nearly impossible to keep anything a secret. 

“It’s nothing,” he says as he pulls back onto the road. “We knew each other, we fell apart, we’re here now.”

Emily hums. “Is it too far to ask if you were together?”

“Yes,” he says sternly, maybe a bit too hasty. “It is.”

“Fine,” she says breezily, and she looks out the window. “But that tension was thick.” 

Hotch knows what she’s thinking. Hasn’t he been with Haley since high school, what kind of history did you and him have, were you together, would he be okay to work this case— 

He doesn’t really want to answer any of them. You were a part of his past he hadn’t expected to resurface any time soon—if Hotch is being honest, he didn’t know if he would ever see you again once he graduated. Not after the way he broke things off.  

You’ve changed a lot. So has he. 

And now your brother is a murder suspect, and you could be covering up for him. 

That’s the only thing that should be on his mind. 

-

“For the last time,” you huff as you storm down the stairs, “I don’t want to deal with this.” 

“Because you know that Mia is a lying bitch!” Cleo exclaims, following after you. “I’m sick of you stealing my clothes!”

“I’m not stealing your clothes,” Mia scoffs in your wake, just behind Cleo. “They’re too ugly for me to want anyways. I bet I wouldn’t even fit into them.”

“You are! And you’re stealing my fucking jewelry, too!” she yells. “All of my shit is going missing, and I know it’s not Little Miss Law School, so it’s got to be you!” 

Mia draws out a mirthless laugh. “You are not accusing me of this.” 

“I don’t have anyone else to accuse!” Cleo shouts. 

They both look at you, and Mia says your name. “You have to settle this before I kill her.”

“Oh, I’ll kill you first!” she hisses. “At least I’ll get all my stuff back!”

You clench your jaw as your nails dig into your palms, and you’re about to bite back when the doorbell rings. You don’t even try to hide your sigh of relief. 

“That’s Aaron,” you say as you grab your coat and your bag from the table. “I’m leaving. If you kill each other, don’t get blood on the furniture.”

You don’t give them a chance to say anything before you rush to the door, open it, and shut it behind you. 

“You have no idea how happy I am to see you,” you breathe. 

“What’s going on in there?” Aaron asks, amused. 

“My roommates are fighting again.” You roll your eyes. “It doesn’t matter. You’re much more interesting.”

“You know this is a study date,” he says wryly, and you cut him off with a kiss. 

“Still a date,” you murmur against his lips. “And something seriously needed.”

Aaron chuckles as he wraps an arm around you, pulling you into his side, and the two of you walk to his car. “You’ve gotta get out of this house, honey.”

“I know,” you grumble. “But I can’t afford a place on my own.”

“Doesn’t have to be on your own,” he says as he opens the door for you. “It just has to be away from the girls that are making you miserable.”

“The lease ends at the end of the semester,” you sigh. “Just have to make it until then.”

“You know,” Aaron boxes you in against the car when you lean against the side of it, smiling softly at you, “I do live alone.”

“Oh yeah?” You ruffle his hair with your fingers and grin. “What are you proposing?”

He shrugs, letting his hands linger on your waist. “Just that you hate your roommates, and you don’t hate me. You could spend your time somewhere else.” 

“Careful,” you warn. “You keep saying things like that and we might not make it to the library.” 

“You keep saying things like that, and I might not mind,” Aaron muses. 

You grin as he leans in and kisses you again, once, twice, three times as your back hits the side of his car and you card your hands through his hair. Mia and Cleo are probably killing each other inside, but you don’t really care at this point. They’ve made your life hell for a semester and a half—they can bother each other for once. 

“Aaron,” you whisper against his lips, and he gets one more in between words, “I’ve got a test on Tuesday.”

“And today’s Sunday.” He nips at your neck and you laugh, your eyes falling shut as you lean your head back. “You’ll be fine, honey.”

“You have one on Monday,” you remind him, and he sighs. You feel his hot breath against your neck. 

“Ruining our fun in the name of schoolwork,” he says. “No wonder all your professors love you.”

“Everyone loves me,” you correct. “Including you.”

You steal one more kiss before you open your door yourself and get in, and Aaron lets out a breathy laugh.

“You’ve got that right.”

He closes your door then gets in the other side, and you’re already rifling through the glove box full of cassettes. You pull out the mixtape you made for him for your six month anniversary and pop it into the player, and Aaron smiles as the first few notes of Stairway to Heaven come on. 

“You’re a threat to my grades, y’know.”

“Maybe it’s all part of my plan,” you say. “Distract you with kisses to make sure I’m a shoe-in for this fellowship.”

“A dastardly plan,” he says with mock austerity. 

“I’ve been told I have to be more of a shark,” you muse. “Consider this me taking down my competition.”

Aaron laughs, and you find yourself smiling just at the sound of it. You love the way his eyes crinkle at the corners, how they soften just so, how he acts like himself around you, and not some perfected or stoic image that he thinks he needs. 

Falling in love with Aaron Hotchner has been the easiest thing in the world. 

“Don’t let anyone know,” he says, and he reaches over to intertwine your fingers together. “But I’ll happily fall to you every time.”

“As long as you don’t tell everyone how whipped I am for you,” you tease.

“Looks like we’ve both got reputations to keep up.”

“Looks like it.”

You share a smile, yours just on the edge of a grin as you try to bite it back. You hold hands the rest of the way, just soaking in each other’s presence with songs from bands you introduced to each other floating through the air. 

(It is a goddamn struggle to get any work done at the library with that face across from you the whole time.)

- 

You had sky-high aspirations when you were younger. 

Ones that would make your teachers offer a smile and tell you to shoot a little lower, that would make your friends’ eyes widen, that your father would scoff at and your mother would humor you on just to get you to move past it. 

You didn’t listen. You’ve wanted to be a lawyer since you went on a class field trip to a courthouse in elementary school and saw all the attorneys hustling about, dressed to the nines, making last-minute deals outside the courtroom.  

They were just… so confident. So smart, so stoic, always knowing the answer to everything. The good ones had money, sure, but more importantly they had the power to change lives for the better. And as a kid that had to cover up bruises before the school day, nothing sounded more appealing. 

All you’ve ever wanted to do is help people. 

And as you sit in a cold, empty interrogation room, you can’t help but wonder where the hell you went wrong. 

You don’t want to be here, obviously. But you know the FBI won’t stop bugging you until you give them answers—you know Aaron Hotchner won’t stop bugging you. 

Because god— what are the odds? 

What are the fucking odds of your ex-boyfriend from a decade ago showing up at your door with a badge and an attempted case against your brother? 

It’s ridiculous, and it’s such bad luck that you think it could only happen to you. You’ve thought about Aaron Hotchner more than you’d like to admit over the years, especially when you found your old GW crewnecks, and the box of school supplies you used for a decade, and those photo albums from what should’ve been your golden years. 

It’s not like any of it matters, though. You only agreed to come in and talk because you want them off your back and you don’t want them poking around your house. You saw it in Aaron’s eyes—he was profiling you and your place the entire time. 

If the cops want to invade your privacy even further, they can get a goddamn warrant. 

Your thoughts are interrupted when the door opens, and you hold back a mirthless laugh, because of course it’s Aaron. He greets you with your name, and he has a file in his hands. You wonder if it’s on you or your brother. “Thank you for taking the time out of your day to come in and talk with us.”

“Well, you seem to think my brother is a murderer.” You cross your arms as you sit back. “I’m not really gonna let that stand.”

“I’m surprised you haven’t asked for a lawyer,” he says as he sits down across from you. 

“I don’t plan to be here for very long,” you respond tartly. “But don’t worry—that can always change. I know my rights.” 

“I’m the last person you need to tell that to.” Hotch sets the file down and looks right at you. Though he’s obviously older—more grizzled, more hardened; harsher, sharper lines that define his face; lips set in a taut, unflinching line—you still see that young man from law school. The passion, the care he puts into everything, the penchant for striped ties. 

You wonder what he sees when he looks at you. 

“Your last name wasn’t Hartford when I met you,” he says. “Why is it now?” 

“Not one for small talk,” you remark. 

“I never have been.” 

“I remember.” You hold his gaze. “It’s my mom’s maiden name. I changed it to put some distance between me and everything else.” 

You can practically see the gears of his brain working, neural pathways branching off with every word you say to make sense of it and reason a thousand different meanings from it. Aaron’s always been like that, but it’s tenfold now. 

You suppose one has to be like that, to try and get anywhere with the types of criminals they face. 

“How long have you been living in St. Louis?”

“Seven years. I’ve had that house for three.” 

“Rent or own?”

“Rent,” you scoff. “I don’t make enough for a down payment, and I don’t want a place tying me down.”

“What inspired the move?”

“Close enough to home to be familiar, far enough to not be.” 

“And home is?” 

“St. Charles,” you say, and you purse your lips. “Shouldn’t you already know all this?” You nod at the file in front of him. “It’s either on me or my brother, and we share a lot of the same info.” 

“We prefer to get our information from the source,” he says. 

“Sources can lie.” 

Aaron doesn’t waver. “And we can charge you with obstruction if it harms our investigation.” 

Your lips twitch for a moment, not entirely without heart. “Ask your questions, Aaron.” 

He opens the folder and slides the first picture over to you—your brother’s first mugshot, taken when he was only twenty-one. You still remember riding your bike to the station in the sweltering August heat to drop off his bail and pick him up. 

You had to catch the bus home together, you had to pay his fare, and his bail drained everything you’d been saving from your waitress job. But your dad refused to pay it, and you refused to be alone in that house any longer than you already had. 

You swallow the memory. It still tastes as sour as the day it happened. 

“Lucas Hartford is our main suspect,” he says. “He matches our initial profile—in and out of jail since his twenties, his parents are dead and he has an unstable home life, and he’s got a sister.”   

“None of those sound like questions,” you say. 

“Where is your brother?” he asks firmly. He’s given you a bit of leniency, but you can tell he’s getting tired of you. Some things never change, you think to yourself bitterly. 

“I don’t know,” you admit. 

“You don’t know,” he repeats. 

“I let him stay with me, and my only requirement is that he goes to his community college classes and stays out of jail,” you say. “He’s done both, so I stay out of his business.”

“And you’re telling me you haven’t questioned it?”

“I called him the other day after you left,” you say. “He didn’t pick up, and I didn’t get a call back until the next night.” 

Aaron’s eyes sharpen. “What did you say to him?” 

“I called to see where he was,” you say evenly. “I think you all are wrong, but I wanted to make sure he was okay.” 

“You didn’t tell him—” 

“No,” you interrupt, “I didn’t tell him about your investigation. If I think you’re wrong, why would I need to let him know?” 

He still has that look in his eyes, and you know you’re getting on his nerves with the constant interrupting, the constant backtalk. But he probably deals with much, much worse. 

“Good,” he nods. “You could be putting lives in danger if you do—including yours.” 

“Please,” you scoff. “He won’t hurt me. He never has.” 

“Why do you let him stay with you?” Aaron asks. “You’re straight-edge, he’s a borderline alcoholic that’s been in and out of jail for years. You’ve got a law degree, he never made it past high school. You’ve got your life together, his is falling apart.” 

“That’s why I do it,” you say. “Our parents are dead. I’m all he has left, and he’s all I have left. I want him to get better, so I’m trying my best to help him get there. How can Luke put his life back together if he’s got no support?” 

“That’s an awful lot of faith to put in someone who hasn’t earned it.” 

“I’ve gotten good at that over the years,” you reply. 

Aaron stares at you, and you stare back. You let the moment linger. You hope it stings, even fleetingly. 

“And you’re wrong, by the way.” 

“About what?” he asks. Again, unshaken. 

“I don’t have a law degree,” you say. “I dropped out.” 

And for some reason, that is what gets him. He frowns, and you wonder what it means that this is the most unexpected thing he’s gotten out of you. 

“Why? You were only a year out. You had stellar grades.” 

“My mom got cancer,” you say. “Luke was serving his second stint, Dad fucked off to some corner of the country to drink himself to death a couple months before. I was the only one left to take care of her, and I couldn’t do that from DC.” 

“I had no idea.” This is the first time he looks taken aback since you’ve met him again. “And she’s—”

“Dead,” you supply without waiting for an answer. You know he already knows it, but it still seems to have some effect on him. “Went a couple months after I was meant to graduate.” 

“…I’m sorry for your loss,” he says. He’s just repeating what his agent said at your house, but it feels genuine, at least. 

“It’s been a decade,” you say. “I’m just sorry it was her instead of my dad.” 

Aaron’s brows knit together again, and less work goes into covering it up this time. “You seem to have something against your father.” 

You huff a mirthless laugh. “Excellent profiling.” 

“Child abuse is common for serial killers,” Aaron says. “We find it’s typically the root of their problems later in life, or plays a part in their MO.” 

You stare at him again. This isn’t just an interrogation with Supervisory Special Agent Aaron Hotchner—it’s revealing parts of your past that you never told your ex-boyfriend Aaron. 

“Yeah,” you finally say. “Our dad beat us. Is that what you wanted to hear?” 

“You know th—” 

Aaron cuts himself off before he can finish whatever he wants to say, and he lets out a short sigh with a nod. “It’s valuable information for the profile.” 

The room feels a lot colder all of a sudden. “Sure.” 

He still looks like he wants to say more, but he bites his tongue as he takes the picture back and closes the file. 

“I’ll be back,” he says. “Would you like anything? Water?”

You shake your head and remain silent. He takes the folder and stands up, and you watch him the entire way to the door. Just before he can open it, you find words escaping without you thinking. 

“Look, Aaron,” you blurt out. He pauses, and he turns to look at you. “I know this is your thing, and this is your investigation, but I’m telling you—my brother and I don’t play any part in it.” 

“The profile—” 

“I don’t care what your profile says,” you interrupt. “He didn’t do it. He couldn’t have done it.” 

“He’s rough around the edges, I know. In and out of jail isn’t good for anyone.” You hold onto the edge of the table as you continue rambling, needing something to do with your hands. “But he’s working to get better, and he is not the kind of person to do something like this. If you believe anything I say, believe that.” 

“I suppose we’ll find out,” he says evenly. 

He leaves the room, and your hands fall into your lap as your nails dig into your palms. You don’t mean to be desperate, but you feel it. You’ve been defending Lucas at every chance, but you’re terrified of being wrong. You’re terrified that Aaron might be right—that he might be behind all of this. 

For his sake—and your sake, honestly, because you think you deserve to be selfish when he’s all you have left—you hope you’re right. 

You have to be right. 

The room feels even colder. 

Your stare drifts to the one-way mirror, where you know his team is watching. You saw the way Agent Prentiss watched Aaron when they came to your house—he said he doesn’t want them to know, but you think they already do. 

You wonder the kind of things they’ve come up with about you and him. 

-

Morgan whistles when Hotch walks out of the interrogation room. 

“She does not like you.” 

“Did you gather anything else?” he asks placidly. He sets your brother’s file down so he can fix his tie. 

“Abusive dad, dead parents, criminal background,” he says. “Lucas is looking like a stronger suspect. Oh— and she really doesn’t like you.” 

“If you don’t want to go back to building a file on your suspect, move on,” Hotch demands. 

Morgan shrugs, clearly unfazed, but he keeps his mouth shut. Reid, meanwhile, is still staring through the glass at you. You haven’t exactly relaxed, but you’re not as tense as you were while talking to Hotch. You pick at a loose strand of thread on your sweater, and when you pull it out, you let it fall to the floor. 

“Her brother feels like a prime suspect,” Reid murmurs. “I feel like I could just figure it all out if I could talk to him.” 

“I told Penelope to keep an eye on him,” Prentiss contributes. “She’s tracking his cards, the car registered in his name, even called the person in charge of the AA meetings he goes to to keep an eye out—everything. We’ll know if she gets anything.”

“Serial killers want to see the damage they’ve done,” Reid says. “Things are falling apart here—the whole city is terrified. He’s gotta be in St. Louis still.” 

“You’re sure that he’s still in the running.” Hotch glances back at you, and he knows he has to at least ask, for your sake. He doesn’t want to put you through anything more than he has to—not after what you’ve told him. 

And Hotch knows your past is your business—he just can’t believe you never told him. 

He’s turned over your relationship in his head just as many times in these past few days as he did the months after he ended things. 

“I’m sure, sir,” Reid says. “I’ve read over both their files, and Lucas matches with our preliminary profile. His stressor could have been his father dying.”

Morgan frowns. “Explain.”

“Family annihilators typically go after their own family for a myriad of reasons,” he says. “Paranoia, to cover up their lies, to free themselves from what they see as oppression, sometimes just pure jealousy.”

“He’s killing the parents but leaving the children alive,” Hotch says. “Sounds like a liberator to me.”

“That’s what I think,” Reid nods. “If Lucas has been banking on killing his father for that attempt at freedom, and then lost the chance?” He shrugs. “That could be why he started going for other families.” 

“Other fathers to take his place,” Morgan realizes, and he nods again. 

“You should talk to her, Spence,” Prentiss says. “You’ve got a handle on the profile, and you’re pretty good at conveying info. She seems like a reasonable person—just can’t accept her brother doing something like this.” 

“It’s typical for someone to deny their family member’s involvement,” Reid says. “No one wants to think their sibling is a murderer.” 

“If you lay it all out for her like that, with facts and the profile, I think she’ll listen.” Prentiss looks at Hotch. “She’s too closed off with you.”

“That’s how she is,” Hotch claims.

“Maybe,” she shrugs, “but it’s much easier to hate you than it is to hate Reid.” 

Hotch glares at her, and Reid clears his throat to insert himself back into the conversation. 

“I’d be happy to talk to her,” he says. “I know what it’s like to be in this kind of position—I can put her at ease, sympathize with her.” 

They all look at Hotch, and he wants to say no. He wants to be the one to get this out of you—some part of him wants as much time with you as possible. But he decides to swallow his ego. 

“Fine.” He nods, and he hands the folder to Reid. “I trust you to handle it.” 

Reid nods too, far too many times, and he takes the file. “Thank you. Uh— sir. I appreciate your trust.” 

“Yeah, yeah,” he says, but it has no bite to it, and Reid walks inside. 

He says your name and sits down across from you. “I’m Spencer Reid. I know we’ve already said it, but thank you for talking to us. It may not seem like it, but it goes a long way towards figuring out this case.”

You nod. You already seem more at ease than you were with him, and it makes Hotch… 

Not jealous, because that would be insane. But it makes him upset that he doesn’t understand you the way he used to—that he doesn’t hold that key to you anymore. God, it feels like he doesn’t know you anymore. 

Hotch doesn’t get why a side of his brain still thinks this way about you. 

“They sent a new one in,” you say. 

“You looked like you needed a break from Hotch,” Reid says. “Don’t worry. We all do sometimes.”

You huff a slight laugh and your posture eases, your expression softens just so. Reid was right, as usual. 

“I can imagine.”

He starts talking to you about the case, laying out all the facts, and though you don’t look happy, you don’t cut him off like you cut Hotch off. 

“She’s pretty,” Morgan offers, glancing at Hotch. “And stubborn. I see why you like her.” 

“Shut up, Morgan,” Hotch mutters.

He chuckles and holds his hands up, and focuses back on the interrogation. 

The rest of it passes in silence, save for the occasional input from Prentiss or Morgan to elaborate on a point. You talk much more with Reid than you did with Hotch, and you don’t stare daggers at him the entire time. 

Time doesn’t always heal all wounds, he thinks. 

When Reid is finishing up inside with you, Morgan glances back at Hotch. “You think she’s part of this?”

He shakes his head. “No. She has no reason to kill, nothing to gain. She talks about her past too plainly—it hurt her, obviously, but it hasn’t taken over her life.”

“What about her brother?” Prentiss asks. 

“The more we learn, the more I suspect him,” Morgan says. 

She nods in agreement. “We just have to find him.”

Hotch isn’t sure yet. 

But for your sake, he hopes his gut feeling is wrong. 

-

Spring has finally sprung in DC, and you couldn’t be happier. 

It’s hard to feel down on your walks to class when the birds are singing and the sun is beaming down on you, when you see students sitting on blankets reading and talking and actually enjoying life for once. 

You’re two years into law school, and it feels like you’ve spent 90% of your time studying in either the library or your room. A bit of a sad existence, but it’s made better with Aaron. 

You’re laying down on a blanket—one you crocheted yourself in undergrad—resting your head on Aaron’s chest as he reads a book, the spring sun shining down on you. It feels like the first moment of relaxation either of you have had since classes started, and you chose to spend it together in the University Yard. 

You should probably be studying or doing some kind of homework, but you don’t care. It has been too damn long since you’ve gotten to just sit around and exist with Aaron, and you’ve got at least a couple days until your next quiz. That’s far enough away for you. 

It’s been a rough semester for both of you, between classes and endless homework, between your internship and your endless family issues—Luke is two years in, and his parole was denied, and your dad still insists on being the reason you stay on campus year-round. 

You don’t think you’re pushing it when you say Aaron’s support has been the only reason you’ve gotten through it, your grades—and your mental state—relatively unscathed. 

Aaron says your name, and you hum. 

“Are you listening?” he asks. 

“Of course,” you say. 

“Your eyes are closed.” 

“I don’t need my eyes to listen,” you say wryly. “What’s up?” 

You feel him tense for a moment, feel him adjust his position slightly. 

“I got a call from Haley,” he says carefully. 

Your eyes open and you frown. 

You know the name, but only in the way that you talked a bit about your past relationships while you were still getting to know each other. She was his high school girlfriend, and it was a big deal then, but they broke up before college because they both wanted different things.

It shouldn’t be a big deal now. But he’s treating it like one, and that makes you hesitate. 

“Yeah? What’d she want?”

“…She’s in DC for the weekend,” he says. “Some conference for school. She asked if we could grab a coffee or something and catch up.”

You finally sit up, his hands falling from where he’d been playing with your hair, and you look at him.

“Your high school girlfriend wants to catch up.”

“An old friend wants to catch up,” he corrects. “I haven’t really talked to her since we graduated high school.” 

“…Okay,” you say slowly. “Do you want to see her?” 

He shrugs. “I thought it would be nice.”

“Do you think she thinks it’ll be more than nice?” you ask. 

“I don’t know,” he admits. “I don’t even know how she got my landline. I think my mom might have given it to her.” 

Your eyebrows rise. “Your mom gave your ex-girlfriend your number?” 

“It’s the only way I can think of her getting it,” Aaron shrugs. “Like I said, I haven’t talked to her since graduation.” 

You chew on the inside of your cheek, trying to think as you look at Aaron. 

You’ve met his mom a dozen times. You’re insistent that she doesn’t like you, despite Aaron’s assertions towards the opposite—it wouldn’t surprise you if she gave this girl his new number in an effort to push him in a new direction. 

But that train of thought feels a little crazy. You’re confident in your relationship with Aaron—you love him, and he loves you. God, he made an off-handed comment about marriage the other day. You’re not threatened by a girl from his past wanting to catch up. 

“Go for it,” you finally say. 

He frowns, like he was expecting the worst. “Really?” 

“I trust you, Aaron,” you say. “You say she’s just a friend, I believe it.” 

You lean forward to kiss him, your eyes fluttering shut, and it lasts much longer than it should. When you pull away, Aaron’s smiling softly at you. 

“Thank you,” he says. 

“‘Course,” you say, tipping a shoulder. “I’m known to be rational from time to time.” 

He chuckles, and you smile as you lay back down on his chest. Soon after, you feel the weight of his hand on your shoulder. 

“I love you,” he says. It feels more like a reminder than anything. 

You entangle your fingers together and press a kiss to the back of his hand. 

Sometimes you need reminders. 

“I love you too.” 

-

“Four more bodies,” Prentiss mutters. “God.” 

“You can say that again,” Morgan murmurs. 

Hotch is silent as he examines the father’s body. They’ve been so busy the past few days trying to nail down the profile, both on their unsub and geographically, that this happening again hadn’t been at the top of their list. There was a month between the first two, and two weeks between the second and third. 

No one expected this to happen so soon. 

The entire family was killed this time, and once again, the parents look similar to the other victims. It’s the work of their unsub, no doubt. 

Hotch and the team had already been at the precinct for an hour going over all the information they’d found when they got the call at 8 in the morning, the bodies discovered by the family’s maid when she arrived for work. 

An entire family, parents and children, senselessly slaughtered for one man’s deranged quest for liberation. 

Hotch has been in this business for a long time, seen things that most people only imagine in nightmares, and he still has to take a step back when children are involved. 

He sees Jack in every single one. He can’t help it. 

Hotch took Prentiss and Morgan with him to the crime scene—JJ has a kid, Rossi had a kid, and he just didn’t want Reid to see it. They’ll all be more valuable working together back there anyways, and it’s imperative that JJ controls the narrative before this can break to the press. 

Again, Prentiss talks to the officers at the scene and Morgan helps him examine the bodies. After all, there are double the amount. 

“It just doesn’t make sense,” Morgan says as he stands back up. “Our guy is killing surrogate parents to get back at his own, fine. Dad was tortured again, mom was killed with a bullet. But bringing the kids into it isn’t his thing.” 

He uses a gloved hand to gingerly lift the father’s arm away from his body so he can examine the underarm. “Look at this. He’s been stabbed at least ten times, and his arm’s nearly severed from his body.”

“And his neck,” Morgan mutters. “He’s half decapitated.” 

Hotch sets the arm back down. “The unsub always wants the father to suffer, but this is a new level.” He looks up at Morgan. “I don’t think he has a reason for killing the children. I think he’s getting sloppy—he’s getting overwhelmed by his anger.” 

“You think he’s devolving,” he says, catching on. 

“Something tells me we’re coming to the end of the line,” Hotch says. “Whatever he does next, he’s going out with a bang.” 

-

The mood in the precinct has fallen dramatically since the last hit. The uniforms aren’t happy that they’re working around the clock, the chief isn’t happy that the BAU hasn’t figured everything out yet, and the city isn’t happy that ten murders have been committed with what they think is no end in sight. 

JJ and Rossi have gone out to bring in the suspect that he and Morgan found together for the sake of covering their bases—they still haven’t been able to find Lucas, despite Reid calling you every day to check in and upping police presence around the city. 

The rest of the team sits around a conference table, over a dozen coffees between them, going over everything and racking their brains for information. 

“This just isn’t matching up,” Reid complains. “Lucas has just been at home for the first two, but for the third and the fourth he’s got alibis.” 

“What are they?” Hotch asks. 

“He was on the road all night when the third happened,” Reid says. 

“And how do we know?” Prentiss asks. 

“Garcia picked up his debit card being used a couple times from Des Moines back to St. Louis when the third set of murders happened,” Morgan contributes. “Must’ve been a road trip, because there are stops at a gas station, a restaurant, and a rest stop.” 

“The last one happened during an AA meeting he was supposed to attend,” Prentiss says. “I called the leader and she said he was there.”

“Do we have footage from any of those places?” Hotch asks. “We need to make sure.” 

Reid nods. “I asked her to check it all this morning, including the AA meeting. She must still be going through it—I can’t imagine it’s easy to get all that access.” 

“What about a second unsub?” Morgan suggests. 

Hotch shakes his head. “These are all meant to be personal for liberation—catharsis. Involving someone else would take away from the feeling.” 

“What about your suspect?” Prentiss asks, looking at Morgan. “Could he be the unsub?” 

“Patrick Fenton,” Morgan says, and he shrugs. “He fits it—dead parents, jail time, child of abuse. But he’s got two sisters, and his parents died when he was in his twenties from a car accident. I don’t see why he would start killing almost twenty years later.” 

“Maybe we’ll figure something out in questioning,” Reid says hopefully. 

Morgan’s phone suddenly goes off, and he hits the button to answer. “You’re on speaker, babygirl.” 

“I found the security footage from those three places, the ones that Lucas was at on his supposed road trip when the third family was hit,” Garcia says, voice slightly tinny through the phone.  

“And?” Hotch asks. 

“I was getting there,” she says. “Lucas wasn’t there. He wasn’t on any of the footage—his sister was.” 

Hotch frowns. You? 

“You’re sure?” he asks. 

“I’m always sure,” Garcia responds. “And I don’t know if Spencer is there, but he also wasn’t there at the AA meeting—I combed through the whole meeting, and he didn’t show up at any point. Just another guy that looked like him.” 

“And you’re sure about that, too?” Hotch asks again. 

“What is with this questioning of my abilities?” she asks, offended. “Yes. I’ve stared at so many pictures of Lucas Hartford over these past few days that I’ve got him burned into my brain.” 

“Thanks, babygirl,” Morgan says. “We’ll call back if we need anything.” 

“And you’re always welcome in this house of miracles,” she muses. Morgan chuckles before he hangs up. 

“Lucas gave her his card,” Reid realizes. “It’s an easy alibi, but it falls apart when you look into it even a little bit.” 

“Probably seemed solid to him at the time,” Morgan says. “He doesn’t seem like a detail oriented guy.” 

Prentiss frowns. “That means he’s back on the chopping block. We can put him at the scene of every murder.” 

Hotch leans over the table and grabs Lucas’s file, and he pulls out the page compiling his family. “His father died a year ago from liver failure. Hartford got out of jail nine months ago after a six year stint.” 

“If he’s been plotting some elaborate murder of his father for years, just to get out of jail and find out he drank himself to death?” Morgan shakes his head. “He’d snap. It doesn’t feel like justice.” 

“He thinks he’s saving the kids of these parents that he kills,” Reid says. “He sees himself in them—he can’t look past his own childhood, and he assumes those kids must want their parents dead too.” 

“He’s trying to get back at his dad,” Prentiss says. “We know that.” 

“But that’s not his main goal,” Reid insists. “If his dad died when he was a kid, the abuse would have stopped. His mom wouldn’t be the battered wife anymore, and he wouldn’t be the battered kid.” 

“His goal has always been protection,” Hotch realizes. “Yes, he’s getting his revenge by killing his father over and over, but ultimately, he’s trying to save himself.” 

“But he didn’t anticipate the kids being home this time,” Prentiss says. “He had to kill them too.” 

“If he‘s seeing himself in these children, recreating what he never got to do, then that means that he effectively died in this scenario,” Reid says. 

“He didn’t get what he wanted,” Morgan says. “That’s gonna take a toll on him.”

“He’s coming to the end of the line,” Prentiss nods. 

Hotch’s brain is working overtime as they work information off of each other. They’re so damn close—they just need the last piece of the puzzle. If they find Lucas’s next victim, they find him. 

“His next crime will probably be his last before he goes out himself,” Reid says. 

“You think it’ll be a murder-suicide?” Morgan asks. 

“It’s common with family annihilators,” Reid says. “Hell, it’s common with anyone who sees no future beyond their murders. It’s their way out.” 

And then the answer hits Hotch like a ton of bricks. Reid is still rambling next to him. 

“If his dad was still alive, I’d say he would be the target. But the only one left—”

“—is his sister,” Hotch grits out, and he’s dashing out of the conference room before anyone can stop him. 

“Hotch!” Morgan yells, and he turns to Prentiss with wild eyes. “Where the hell is he going?” 

“The last victim,” she says as she starts following him. “The one person he never managed to save.” 

“Goddammit,” Morgan curses, and he grabs his phone from the table, dialing Garcia as fast as she can while he runs. Reid is close behind him.  

“What’s up, sugar?” she asks. “Got anymore leads?” 

He laughs dryly. “We’ve got a big one, babygirl. Lucas has finally reached the end of the road — he’s going for his sister. I need you to call JJ and Rossi and—” 

“Send them the Hartford address and fill them in on everything?” she interrupted, and he could hear her fingers flying across the keyboard. “Already on it.” 

“What would I do without you?” he asks. 

“Be half the man and twice as sad,” she says. “I’ve got to call JJ. Be safe, my love.” 

“Always,” he responds, and he hangs up. 

Hotch distantly registers Prentiss stopping by the chief to alert him of what’s going on, because he’s in the fog of a rampage. He’s in the driver’s seat before he knows it, starting the car, and he sees Prentiss, Morgan, and Reid running out after him. 

Prentiss takes shotgun and Morgan and Reid file into the back, and they’ve all got Kevlar vests in their hands. He didn’t really think of that through his haze. 

“We’ve got an extra one for you,” Reid says, reading his mind. 

“Thank you. I— I know what you’re all thinking—” Hotch starts, but Prentiss shakes her head.

“Just drive.” Her lips set themselves in a taut line. “We’ve got a murder to stop.”  

And he does. 

-

You sit on the curb, surrounded on either side by a box of your things. Packing up everything made you realize how little you had at his place. You thought you’d integrated yourself into his life fully, but it really just took an afternoon while he was in a lecture to disappear. 

Summer has fully turned to winter, and you’re as morose as the weather. This side of town looks so depressing without the warmer months to pick it up—the sidewalks are lined with dead trees, the grass is shriveled up and yellowing, and you feel like you’re living in grayscale. 

A shiver runs through you, the weather only partly to blame. 

Amy is supposed to pick you up, but as usual, she’s running late. You don’t know if it’s a personal issue or DC traffic has just struck again, but it doesn’t really matter. Either way, you’re stuck here, and your bad luck seems intent on making it worse, because you watch a familiar car pull around the corner. 

It parks a distance away—there’s no space in front of the complex, and he always complained that they didn’t do assigned spots—and you have to hold back a scornful scoff. 

Of course you have to deal with this now. 

Aaron picks up his pace when he gets out of the car, surprise—and what you think is shame—painted on his face. He says your name when he slows down. 

“You’re already packed.” 

You shrug. “I’m nothing if not efficient.” 

“I could’ve helped you with all this,” Aaron says, frowning. 

“Why do you think it’s done already?” you ask. 

His throat bobs and he opens his mouth, but nothing comes out.

“Let me save you the pain of chivalry,” you say. “I’ve got a friend coming to pick me up. I’ve already found a place. I called your property manager the other day and argued my way out of the lease, but I still paid my next month. You’re welcome.” 

“You didn’t have to do that,” he says. 

“You know what they say about a clean break,” you intone.  

“I’m sorry,” Aaron tries again. To his credit, he looks like he means it. Against his credit, it’s about the fiftieth time you’ve heard it from him in the past two weeks. 

“I shouldn’t have let you get that coffee,” you say with a grim smile, “should I?” 

His lips pull into a taut line. “I didn’t cheat on you.” 

“I know,” you say. It’s the one thing you do believe. “I just don’t think you ever fell out of love with her.” 

Mercifully, you see Amy’s car pulling up in the distance. She’s your only friend with an SUV, so at least your boxes will fit. 

“My ride’s here,” you say as you stand up, and you pick up one of your boxes. Amy throws on her hazards and she gets out to open her trunk. 

“I’m so sorry I’m late,” she breathes. “Traffic was awful, and Jake has been so annoying—” 

“Don’t worry about it,” you say with a slight smile as you put your box in the back. “You’re already doing me a huge favor.”  

“I want us to still be friends,” Aaron calls. When you turn back, he has your other box in his hands, his expression shamelessly desperate. Amy glares daggers at him. 

“Why?” you ask innocently. “So I can go without talking to you for ten years, ask you for a coffee when I’m in town, and then get you to leave Haley?” 

“That’s not what happened,” he says, but you’re already shaking your head. 

You take the box from him and smile thinly. 

“Have a good rest of your life, Aaron. I hope it doesn’t involve me ever again.”

-

You let out a noise of frustration as you struggle to get the key into the lock, gritting your teeth as you try to fit it in. It’s always been finicky, but you just don’t have the energy to deal with this tonight. Thankfully, just when you start getting annoyed, you get it open. 

You get a few steps in before your eyebrows rise, the sight of your brother at the kitchen table a surprise. He’s got his head in his hands, and your surprise turns to concern.

“Lucas,” you say with a slight smile, shutting the door behind you, “I didn’t know you were gonna be home tonight.”

His attention shoots to you immediately as he says your name, and he looks slightly out of it. “I was wondering when you were gonna get back.”

“Stole the words right out of my mouth,” you say wryly, and you ruffle his hair with your free hand as you walk past him. He swats your hand away in brotherly protest, and you snort. “This place has been quiet without you. Well— except for the cops. They were pretty loud.” 

“They haven’t been back, have they?” 

You look back at him and notice his leg is bobbing up and down insanely fast, and he keeps scratching at the soft wood of your table with his nail. 

Your smile fades. “Don’t tell me you’ve been drinking.”

“Of course I haven’t,” he insists, but you turn on the kitchen light, then move closer to peer into his eyes against his protests. 

“At least you’re not high,” you murmur, taking one last look before you pull away. “And stop ruining the table. I need it to last for the next ten years.” 

He huffs, and you can practically hear him roll his eyes, but he stops. 

“Did you go to class today?”

“You don’t have to act like Mom,” Lucas says, crossing his arms again with another huff. 

“And you don’t have to act like a child.” You roll your eyes as you set your tote bag on the countertop and begin unpacking the groceries you bought. “I’m asking you about your day—that’s definitely not acting like Mom.”

“Yes,” he mocks. “I went to class.”

“Good.” You glance back at him. “I’m proud of you, Luke. You’ve been making progress.” 

His smile is a bit thin, but he nods. “Thanks. How was work?”

You scoff and shake your head as you put a couple things in the pantry. “Don’t even get me started. I swear, Marie’s going to get me fired someday if she keeps her bullshit up.”

“She’s still on it?” Luke asks, and you can’t help but smile a bit. 

“Don’t act like you know what I’m talking about,” you say. “Just agree with me.” 

“I agree with you,” he says. 

“That’s it,” you muse. 

Your eyes fall back on your bag, and you’re reminded of what you meant to do next time your brother showed up. 

“Oh—” You go back over to the kitchen table for your bag and pull out your wallet. You slide a debit card out and hold it out to your brother. “Thanks for letting me use it while I was up in Des Moines. I finally got my bank to get rid of the freeze on my card.” 

“…Of course,” he says, and he takes it back. “Glad I could help.” 

“I’ll pay you back, obviously,” you say as you get back to your groceries. “I just have to wait to get paid again.” 

“Don’t worry about it,” he says. “And uh— you never answered me. Did the cops come by again?” 

You huff a mirthless laugh and shake your head. “You have nothing to worry about, Luke. I think they finally realized they were barking up the wrong tree.”

“…Good,” he says. “I can tell they’ve stressing you out.”

“Like that looks any different than my normal state,” you say wryly. “Besides, it wasn’t that bad.” 

You recall the shock you felt when you opened the door to Aaron, and how nervous you were on the drive to the precinct. It’s almost been a decade, and yet he still has an effect on you that he has no right to. 

“You remember that guy I dated when I was still in law school? Aaron Hotchner?”

“I think? I was in jail, so.” 

You roll your eyes. “I know I told you about him when I visited you while we were together.” 

“I remember you telling me how he broke your heart,” Luke says. 

“That’s not what I’m saying.” 

“Then what are you saying?” 

“That he’s with the FBI now. The BAU,” you enunciate, and you huff. “He’s one of the guys on this case, coincidence that it is. They came here—they even brought me in for an interview.”

He frowns. “What’d you say?”

“The truth.” You pull your cutting board and a knife out of a drawer and get to work washing your vegetables. “That I didn’t know anything, and neither of us are involved in either way.” You shake your head with a sigh. “They must believe it, because they haven’t come back.” 

“What have they said about me?” he asks. 

“I’m not supposed to say.” You roll your eyes. “I think you’re innocent, but I could get charged with obstruction, and I really don’t feel like dealing with that…” 

You trail off into a sigh as you finish washing the peppers and set them on a towel. “I hope they find whoever’s doing it, though. It is freaking me out that there’s a murderer out there.” 

You pick up your knife and start cutting them up—they’re not the freshest, but it’s all Kroger had after work—and you glance back at Luke. “You really shouldn’t be going out so often with this going on, y’know. I don’t want you getting hurt.” 

“Don’t worry,” he says. “I’m careful.” 

“I doubt that,” you say wryly. “Still, though. I worry about you.” 

“Shouldn’t it be the other way around?” he asks. “I’m your older brother.” 

“I worry about everything,” you say. “It’s my thing.” 

You hear him huff a laugh and you smile a bit to yourself. You get through your first pepper before you remember what’s been nagging at you your whole ride home. 

“Oh— can you get the TV?” you ask. “Channel 8, I think. Marcy is getting interviewed for something with her nonprofit, and I told her I’d record it for her.”

Lucas doesn’t respond, though you hear the scrape of the chair as he gets up. 

“Thank you,” you say. “I think they have a fundraiser coming up or something…” you trail off and shake your head as you scrape the cut peppers onto a plate. “God. I need to start paying attention in the break room.”

Another few seconds pass, and you don’t hear the television switch on. You huff and turn your head slightly. “Luke, I’m making dinner tonight. This is the least you could do.” 

“I’m sorry.”

The words come out as a murmur, but you can tell he’s much closer than he was before. 

You don’t even get the chance to turn around before something crashes against your head and your vision goes dark. You feel yourself fall to the ground, and your head hits the floor hard. 

Then, there’s nothing. 

-

Hotch has been breaking every speeding law there is. 

The station isn’t too far from your house, but it’s still too far. All he can see is your body, crippled and lifeless just like every other victim they’ve had to look at. 

It should never have gotten to this point. Lucas has been a suspect for the first day, but they looked to other suspects, got caught up in statements from neighbors and the kids of the victims. 

If Hotch just found him and booked him on the first day, this wouldn’t be happening. Your life wouldn’t be in danger. 

His hands tighten on the steering wheel. 

“I seriously think we’re looking at a murder-suicide if this gets to play out,” Reid speaks up from the backseat. “This is his way of ending this for both of them—the ultimate protection of his sister.”

“No one can hurt her if she’s dead,” Morgan mutters. 

“Hotch,” Prentiss starts, treading carefully, “are you sure you’re okay to lead this?”

“Yes,” he says, though he wants to say what kind of question is that?

You were together a lifetime ago in law school, yes, and he might still have feelings for you that he didn’t even realize were there, yes—but he’s an agent and a professional before all of that. 

It doesn’t matter that you have history. It doesn’t matter that you likely hate him. 

It doesn’t matter that he thought he was going to marry you one day, and then was watching you drive out of his life after he got back with his high school girlfriend another day.  

Aaron Hotchner is not going to let you die. It’s as simple as that. 

Hotch’s phone rings and he picks it up and flips it open immediately. “Talk to me, Garcia.”

“JJ and Rossi are on their way,” she says. “Are you headed to their place?” 

“Yes,” he says, and he puts it on speaker. “I’ve got Prentiss, Morgan, and Reid with me still.” 

“Do you think there’s anywhere else he could be?” Morgan asks. “If he’s going to kill her, he might not want to do it in this house.” 

“Already a step ahead of you, my love,” she says, and he can hear mouse clicks through the phone. “They grew up in a house in St. Charles—it’s abandoned, from the looks of it, some place on the outskirts. Never got another buyer after the past owners moved out. I’m sending the address to Emily right now.”

Prentiss gets a buzz on her phone and she nods in confirmation after flipping it open. Hotch immediately switches lanes and makes a U-turn, his jaw clenching. 

“Tell me how to get there, Prentiss,” he says. “He’s there.”

“You need to get on I-70,” she says, and then her brow furrows. “How do you know?”

“He’s killed everyone else in their homes because he sees it as the source of it all. His sister’s rented place isn’t personal enough.” Hotch shakes his head. “Why wouldn’t he want to go back to theirs to end it all?”

“Hotch.” Penelope’s voice rings out in the car, and he doesn’t even realize he forgot to hang up. 

“What?”

“Be careful,” she says, and he rushes to turn it off speaker and press it to his ear. “I… I know how important this is to you.”

Hotch’s throat bobs and his eyes burn with the beginnings of tears. He blinks them away—he can’t be weak now. He can’t let his team see him be weak now. “Dare I ask how?”

“I found an article about GW’s mock trial team,” she says. “Kind of went down a rabbit hole from there.”

Somehow, he huffs the slightest laugh. It feels like a lifetime ago—it honestly is, at this point. Before he saw carnage and gore on a daily basis and tried to solve it, when he thought the DA’s office was the endpoint, when he came home to your smiling face every night. 

And now… 

Hotch’s spine somehow stiffens, and he knows the other three in the car are watching him. He can’t decide whether he cares or not. 

“Thank you, Garcia.”

“No problem,” she says, and he can almost hear her blink in the pause. “Uh— for what, exactly?” 

For the memory, he wants to say. But he doesn’t. He can’t, not right now, so he tries his best to snap out of it. 

“Keep a watch on the patrol cars,” he says instead. “Update JJ and Rossi on our plan, but tell them to stay on their path. I’m sure I’m right, but we need to cover our bases.” 

“Of course, sir.” He hears her fingers flying across the keys. “I’ve got yours and the squad cars’ locations up—I’ll call them now.” 

“Thank you,” he says. 

“Good luck, Hotch,” Garcia says softly. 

Hotch hangs up before he gets too emotional. Penelope has a way of bringing that side out of him. 

“We’ll get him,” Prentiss assures. She’s been watching him this whole time, he can feel it—she’s been attuned far too keenly on this entire part of the case involving you and him. “And we’ll save her.” 

His knuckles go white around the steering wheel, and for once, Hotch can’t find the words. 

-

It feels like your head is slowly being cranked in a vice when you eventually wake up, a dull but insistent pain. Your arm stings too, but you don’t know why. 

You blink a few times as you try to figure out where you are, a low groan slipping out as you fully come back into consciousness, and you move to rub the grogginess out of your eyes. 

Your arms don’t move. You try again, panic spiking your heart for a moment, and that’s when you realize you’re in a chair—tied to a chair, your wrists bound together behind you and your ankles bound to the chair legs. 

Now the panic fully sets in. There’s a murderer in St. Louis, but you don’t fit the victimology from what you’ve seen, but does any of that fucking matter when you’re stuck in something out of a horror movie?

Lucas was the only one there with you. So either he’s in the same situation, or he—

“You’re finally awake,” a voice murmurs. When he comes into view and sits down across from you, your heart stops. 

For a moment, all you can do is stare at your brother with wide eyes. You see the gun in his hand through your peripherals, but you don’t look away from his gaze. 

“I was worried I was too rough,” he says softly. “But you’ve always been resilient.” 

“Lucas,” you breathe. “What the fuck is this?”

“It’s finally going to be over,” he says, ignoring your panic. “We’ve been hurting our whole lives because of that bastard of a father, and I can finally make it all stop.” 

Your brother is fucking crazy. He’s fucking crazy, and he’s going to kill you.

You’ve spent two weeks telling Aaron he was crazy and your brother was innocent, and now he’s going to be proven right when he finds your dead body. 

You try to tamp down on your panic. You don’t have a law degree, sure, and you never officially practiced, but you’ve been a good speaker, a persuasive one, all your life. 

And if there’s ever been a fucking time to be persuasive, it’s now. 

“You don’t have to do this,” you whisper. “We— we can talk if you want to talk.” You tug at your ankle restraints. “This is unnecessary.” 

He shakes his head. “I know you. You’d run.” 

“Come on.” You manage as much of a smile as you can. “I’ve always been there for you, Luke. Why would this be any different?” 

“…You’ve always been too nice,” he says, and he sets the gun down on his leg. At least he doesn’t have his finger on the trigger. “Anyone rational would’ve kicked me to the curb when I asked you for help.” 

“You’re my brother,” you whisper. “I— I love you, Lucas. I’d never do that to you.” 

“Family’s supposed to be everything, right?” He shakes his head. “You were the only one of us that understood that. You were there to pick me up every time my sentence was up.” 

“I’ve always believed in you,” you say. 

He huffs a monotone laugh as he stares at the ground. “You’re definitely the only one.”

You shake your head. “That’s not true.” 

“Mom didn’t care enough to stop anything,” he says, leaning back in his chair. “And Dad wished I was dead every goddamn day. He didn’t have the guts to do it himself, but he definitely tried.” 

You can’t defend your parents. Your dad’s a piece of shit, and your mom didn’t stop anything he did—but you could never find it in yourself to fully hate her because he hurt her too, with more than just bruises. 

“I’ve dreamt of killing our dad every day for twenty years,” Lucas says. “And that old bastard had to fuck me over one last time and die while I was in jail.”

You remember when you got the news. You were next of kin—your mother was dead, and your brother was incarcerated—so you got the call from the hospital. You deliberated for hours before you bought a plane ticket to Montana—apparently that was where he fucked off to drink himself to death—and you don’t know if you’ve ever felt more numb than when you were sitting in some lawyer’s office, listening to him drone on about his will and how his estate would be divided. 

“So you killed all of those people?” you asked. “Because you didn’t get to kill our dad first?” 

“I was saving those kids!” Luke yells, and you shrink in on yourself. “Saving them before their parents could fuck them up like ours did to us!” 

“You don’t have to do this,” you repeat. “You’re just letting Dad win. Proving every shitty thing he said about you.” 

“And that’s the zinger, isn’t it? Luke laughs and shakes his head. “He was right. We’re a whole family of fuck-ups. An alcoholic abuser, a battered wife, a nonstop jailbird, and you…” He shakes his head with a sigh. “You should be out there prosecuting people like me.”

“He ruined us,” Luke murmurs. “And I’m finally going to fix it.” 

All you can do is stare at your brother, wide and teary eyed. You can’t find the words, but you don’t have to. 

Police sirens begin to filter through the air as they get closer, and Luke huffs. “Of course.” He eyes you. “Don’t go anywhere.” 

“I wouldn’t dare,” you say weakly. 

When he leaves to peer out the front door, you take a second to look at your surroundings. It takes a second because they’re so decrepit, but you could never forget. 

Luke brought you back to your childhood home—the place in St. Charles, rotten down to its bones. It’s abandoned by now, but the atmosphere is nothing less than oppressive. There’s a reason you graduated high school a year early, why you never came back once you got to college—except with Aaron, to help your mom move her things out. 

You refuse to die here. Even if you have to claw your way back through the gates of Hell inch by inch—you will not die here. 

You hear footsteps, and when Lucas comes back in, he has a crazed glint in his eye. He shakes his head as his finger returns back to the trigger, and you can’t help but flinch. He won’t. Not now. 

“Looks like your friends the FBI are here,” he drawls. “You said you didn’t tell them anything.” 

“I didn’t,” you insist. “They’re profilers—they figure things out.” 

He shakes his head. “They don’t realize that I have to do this.” Luke kneels down in front of you and takes your chin in an iron grip. “This is the only way to end our pain.” 

He lets go of you then stands up, moving behind you—you want to protest, but you don’t get the chance. He presses his gun to your temple and then the door is broken down. Four agents rush in, guns at the ready. Aaron leads them, and he’s got fire blazing in his eyes.

“FBI,” he barks. “Hands up.”

Lucas doesn’t seem fazed, his breathing staying the same. You stare right at Aaron, unfiltered fear in your eyes, and you feel torn bare. He’s going to watch your brother put a bullet in your head. 

“I’m afraid I can’t do that,” he says smoothly. “This is a family matter.” 

“Put the gun down, Lucas,” Aaron says. 

“You know my name,” he says. “I know yours too, Aaron Hotchner. My sister told me you were with the feds. She also told me you broke her heart.”

“Put the gun down,” he repeats. 

“I don’t think I will,” Luke says. “You see, I don’t go around just kidnapping people for fun. I have a purpose here.” He tilts his head to the side. “But you know that, don’t you? You’re all profilers.” 

“You’ve been targeting families that look like your own,” he says. “You think that killing them will end the pain inside you, and protect those kids in a way that you never got.” 

“I don’t think it,” he bites, “I know it. If my dad had been shot thirty years ago, we wouldn’t be here right now.” 

“This isn’t going to bring you peace,” Aaron says. “Your sister has been the only person to stay by your side through every part of your life. Do you really want to lose that?” 

“Trust me,” Luke says. “I’m not losing her.” 

He flicks the safety off and you flinch. He’s going to kill you. 

“Put the gun down,” another agent warns. 

“If you all don’t leave right now, I’ll shoot her.” Your whole body stiffens as he presses the gun harder into the side of your head, your breathing going off kilter. “Except you, Aaron Hotchner. You can stay.”

“We’re not doing that,” the woman says. Agent Prentiss, you think. 

“Really?” Luke chuckles. “You think you hold the cards here?” 

“It’s okay,” Aaron says. “Go.” 

Agent Prentiss frowns, and the other two men look different levels of puzzled. They obviously doubt the decision, but they don’t doubt Aaron, because one by one, they leave. 

“Wow,” Luke muses. “They really trust you.” 

“Because I know you don’t want to hurt her,” Aaron says. “Deep down, you know you’re not protecting her. Not by hurting her.” 

“I’m not hurting her,” he says. “She’s always been the one to keep me safe over the years—I’m finally paying the favor back. I’m finally taking her pain away.”

“You were abused as children. Both of you.” Aaron looks at your brother. “Your sister always tried to protect you, but it never worked. It just made it worse for her, and it made you feel worthless. You’re her older brother. You’re the one that was supposed to protect her.”

“My sister said you’re profilers,” he says, and though his tone is lazy, you know your brother. You can tell it’s starting to get to him. “Is that what you’re doing right now? Profiling me?” 

“You would never be good enough for your father, and your mother would never do anything to stop it,” Aaron continues. “All you had was your sister, and even that wasn’t good enough—you hurt her just as much as your dad did. At least your dad didn’t think he was a good person.” 

Luke growls, and he puts a hand on your shoulder to pull you closer to him. “Shut up.” 

“Your sister has told me you can be more than this,” he says. “And I think she’s right. You’re better than this—better than living between the margins and jail.” 

“I’ve had a hole in my chest since I was born,” Luke mutters. “And I’ve tried to stop it, but it’s just grown and grown and grown. This— this aching pit of pain, and he caused it. You’ve got it too— I know it.” 

“I— I do,” you say. And you’re not lying. You’ve had a pit of despair in you for as long as you can remember. The only difference is that you’ve fought every goddamn day of your life to keep it from consuming you. “And it hurts, Luke. Trust me, I know. It took me so long to even be able to deal with it, but I know how to. I can help you—we can both walk out of here.” 

“No,” he whispers. “No—we can’t.”  

“Yes, we can,” you plead. “I love you, Luke. I’ll spend every day of the rest of my life helping you if that’s what it takes to get rid of that hole.” 

For a moment, he doesn’t say anything. For a moment, you think you’ve gotten through to him. Aaron never takes his eyes away from you. 

“I’ve never been able to protect her,” Luke murmurs. “Not from our dad, not from the world, not even from you, Aaron Hotchner.” He presses the gun harder than ever into your head, like he wants to bury the metal in your skull along with the bullet. “But that all ends now.” 

You screw your eyes shut. You don’t want to see Aaron’s face when your brother kills you. 

And then it happens so quickly you barely process it. 

There’s two gunshots, almost at the same time. You scream, first because of the gunshots, then because of the sudden roaring pain in your side. There’s a thud next to you, your eyes shoot open, and you see your brother’s lifeless body fall to the ground. 

You scream again—you can’t even control it, it just rips out of you at the sight of the hole in his head and the blood pooling beneath it—and Aaron drops his gun to rush forward. The rest of his team thunders in after him, all in guns and bulletproof vests, and they’re talking, but you can’t focus on a single goddamn thing because your brother’s dead body is right next to you. 

Aaron pulls out a pocket knife and begins to cut through your restraints, and the instant he finishes you collapse. He catches you without a second thought, and you immediately wrap your arms around him. 

Torrential sobs wrack your entire body as you bury your face in the crook of his shoulder, every part of you shaking as the reality of it all hits with full force. 

Your brother is a serial killer. He killed ten people, he tried to kill you. And now he’s dead. 

The only part you had left of your family—gone, just like that, with four other families ruined in his wake. 

Aaron’s soft voice in your ear is the only thing bringing you back from the edge of hyperventilation, his own hold on you the only thing keeping you from collapsing.

“I’m so sorry,” he murmurs and he shrugs off his windbreaker to wrap it around your arms. “You’re safe now. You’re safe.”

“He’s gone,” you choke out, voice muffled as you speak into his chest. “He’s gone, and he tried to—”

A fresh round of emotions hit you, unable to get the words out, and you fully break down in Aaron’s arms. 

“I know.”

Aaron’s fingers linger on your side and you feel some dull pain, but you feel his breath still for a moment. 

“You were shot,” he says with your name. “We have to get you to a hospital.” 

You don’t even feel it. God, you don’t feel anything. There’s a distant ringing in your ears, an insistent pain in your skull, and you finally realize Aaron is right when you pull away and see the blood on his fingers. 

But black spots start to fill your vision. You may not feel it, but your body holds the score. The pain intensifies in your side as your adrenaline starts to slow down, and you collapse against Aaron. 

“Get an EMT in here!” he yells, keeping an arm wrapped around you. “We’ve got a GSW— she’s losing blood fast!” 

You can feel Aaron’s rapid heartbeat, can feel his steady arms as he keeps you propped up. You feel the warmth of his body, feel the warmth draining out of yours. 

“Aaron,” you whisper, your strength fading. You don’t think he hears you.

He helps you up and you’re suddenly hoisted onto a stretcher, and he’s beside you as the EMTs run you out of your childhood home. The night is a blurry canvas of red and blue lights, and your eyelids feel like they’re made of concrete. 

“Aaron,” you try again, and you have enough left in you to grasp his cheek. “Thank you.” 

And as the world goes black around you for the second time, you see his lips form your name. 

It’s not a bad thing, you think before darkness overtakes you, for Aaron Hotchner to be the last thing you see before you die. 

-

You wake up in the hospital alone.  

You don’t know what you expect. You have few acquaintances, fewer friends, and the last part of your family is dead after he tried to kill you. 

The real surprise is that you wake up at all. 

Lucas is dead. 

He tried to kill you. You thought he succeeded. 

You let out a slow, even breath, accompanied only by the sounds of beeping machines. It still doesn’t exactly feel real. 

You’ve spent the last two weeks defending your brother against every accusation, and you ended it in the hospital—well and truly alone for the first time in your life. 

You look at the television. Some muted soccer game is playing, and you’re thankful. You were worried that you and your brother would be the topic of the day. 

Who are you kidding? You’re going to be the topic of the year. He killed ten people. He tried to kill you, and you think he nearly did. He shot you, after all. 

You let your head fall back against the pillow. All of your limbs feel insurmountably heavy, your side aches like hell, and you’ve got the worst headache of your life. 

And you can’t stop playing it all over in your mind. 

He was going to kill you. 

Your own brother, your flesh and blood, the only person you had left, tried to kill you and would have killed you had it not been for the BAU. 

Had it not been for Aaron Hotchner. 

The door opens and someone walks through, your eyes following the movement, and when he sees it, he pauses. And so do you—apparently the devil appears even when you think of him. 

“You’re awake,” Aaron says after a moment. It’s the third time he’s sounded surprised since you’ve met him again. Seeing you, finding out your mom is dead, seeing you. 

But there’s relief there, too.

He has a coffee in his hand and his tie is undone, the sleeves of his white undershirt rolled up to his forearms. It makes you realize his suit jacket has been slung over the back of the chair near your bedside. 

“How long have you been here?” you ask, your brows furrowing ever so slightly. 

Aaron closes the door and sets his coffee on the table before he answers you. “Three days.” 

“And how long have I been here?” 

“Three days,” he says. “You suffered head trauma, they discovered drugs in your system, and… you were shot. You had to go into emergency surgery.” 

You frown, and he answers before you can ask any of them. “…Your brother. After he knocked you out, he used something to… keep you out. And after I shot him, he still got one off—thankfully, as he was falling. The bullet hit you in the side instead of the head.”

“How bad was it?” you ask. 

Aaron glances away. “You died on the table. They managed to bring you back, but…” 

“I guess Luke did succeed,” you say absentmindedly. Aaron doesn’t laugh, and you glance away too. “Sorry. Bad time for jokes.” 

He shakes his head. “If anyone’s allowed to joke about this, it’s you.” 

Your lips twitch for a moment, but then you look back at him as he takes a seat at your bedside again. He looks— god, he just looks tired. Tired and ragged and downtrod, and you can’t imagine you look much better.  

“You were out for two days after,” he explains. “This is the first time you’ve woken up.”

“Why are you here, Aaron?” you ask quietly. “Why have you been here?” 

Aaron frowns. “Where else would I be?”

Your throat feels like it’s closing up, and you feel the telltale pinpricks of tears. You blink them away before they can start. 

“My brother was a serial killer, Aaron.” Your hands clench into fists as you stare at the wall. “He killed ten people while he was living with me and I— and I didn’t even fucking notice.” Your gaze moves back to him. “I went against all of you because I thought I knew him, and look where it got me.” 

“It’s not a crime to want to see the best in people,” he says. “Especially your family.” 

“It’s a crime to fucking murder people,” you huff, and it’s only slightly unhinged. “I— I thought I knew him, and I didn’t. And if I did, maybe none of these people would’ve had to die.”

“Don’t blame this on yourself,” Aaron demands. “Lucas was lost. Mentally ill. He was on a path for revenge, for his deranged idea of protection—nothing you could have said or done would have stopped him.” 

You shake your head. “It might be easy for you to say that, Aaron, but I— I can’t. He’s my brother. I gave him a place to live, I gave him easy access to families— god, I fought with you all for two weeks about his innocence, all while he was planning his next fucking murder!” 

“It is not your fault,” he repeats, slower and enunciating the words. “He was the only member left of your family, and you loved him. You were just stubborn, and that’s nothing new.” 

“I just don’t know what to do.” You’ve had these walls up for so long, especially this past week, and now that everything’s come to a head and you’re in the hospital and your fucking brother is dead, the floodgates have opened. “I have to plan a funeral because I’m the only one left to plan one, but— but does he even deserve one? He’s a serial killer, and he tried to kill me for god’s sake, but he’s my brother and even though he’s gone he’s still all I have left and—” 

You break off as you suck in a huge breath of air, the notion shaky as you clench your hands into fists to keep the rest of your body from doing the same. 

“And I just don’t know what to do,” you repeat, barely a whisper. 

You meet Aaron’s eyes, almost desperately. You feel like you’ll shatter into a million different pieces if you even breathe wrong and he might be the only solid thing in your life. 

“Whatever you do,” he says, “you don’t have to do it alone. Not if you don’t want to.” 

“Aaron,” you start shakily, but he continues. 

“I know what you think, and that’s not what I’m suggesting.” Aaron pauses for a moment, and it’s obvious how carefully he’s crafting his words. “I’ve… always regretted how we left things. And I regret losing touch with you. This isn’t the way I would’ve liked to meet you again. But I’m thankful I have.”

He pulls a card out of his shirt pocket and holds it out to you. You realize it’s his business card, and it’s got his number. 

“I’m sorry for the formality,” he says dryly, “but I don’t exactly go around prepared to give out my number for purposes other than work.” 

You take it without giving yourself the chance to think about it. You run your finger around the sharp edge of the cardstock, pressing the pad of your thumb against the corner. 

“Years ago, you wished me a good life, and that you didn’t want to be involved in it,” he says, still treading carefully. You can’t believe he remembers the last thing you said to him. “But— but a lot has changed since then, and I hope that has as well.” 

“I’d like you to be a part of my life again,” Aaron finally says, “if you want to be a part of mine.”

For a moment, all you can do is stare at him. Two and a half years of law school flash behind your eyes—coffee shop dates and endless hours spent studying at the library. Movie nights cuddled on his couch, hauling boxes out of your house at an ungodly hour to get away from your roommates. An unhealthy amount of all-nighters immediately followed by going out to celebrate a miracle of an A on an exam. Getting through every soul-sucking part of earning a J.D. together, falling apart before either of you could make it to the other side, and somehow…

Somehow, you’ve ended up on a completely different side together. 

“My life isn’t going to be easy,” you say faintly. “Especially… moving through this.” 

“My life isn’t easy either,” he says. “I’m divorced with a kid and I try to solve murders every day.” 

“It’s not a contest.” An attempt at a joke, but it falls flat for you. Aaron’s lips still quirk at the edges the slightest bit. 

“Getting through this certainly won’t be easy,” he agrees. “But I have more experience than most in these sorts of things. So if you ever need anything, call. Please.” 

“I imagine you’re pretty busy,” you murmur. “Unit chief and all.” 

Aaron shrugs. “I make time for the things I care about.” 

Thankfully, you don’t have to figure out how to respond to that, because there’s a knock on the door, and a nurse walks in after you call a come in.

“It’s good to finally see you awake, sweetheart,” the nurse says with a smile. It warms you from the inside out. 

“It’s nice to be awake,” you say. Her smile widens and she moves over to the computer in the side of the room—to add some things before she makes her checkup, you assume. 

“I’ll give you some time alone,” Aaron says.

Before he can stand up, you grab his hand. It’s fully on instinct, and he looks just as surprised as you feel.  

“Don’t go,” you plead, and it’s almost a whisper. “I— just— please.” 

Aaron stares at you for a moment, that shock glinting in his eyes before it transforms into something a lot warmer. He nods and sits down. 

“Okay.” 

And he stays. 

This time, he stays.

[diidona]

"I had five notebooks for that, five Moleskine notebooks, instead of one or two. Each notebook would represent personalities, you know, different acceleration, different motives, different tone, how is he different from here to Oliver Three, just reminding you. You know, not too, too much, either. You don't want a whole bible of it. 'Cause you go in and you're just stiff then, I think. You know, you just have to have a looseness about it, and just, 'All right, I know where to go.' The grave scene, the same thing. I just wanted to explore and grow with the character, and figure him out, and see when… You know, I asked for a closed set. I said, 'I wanna try something.' I just wanted to see what I'd do as Oliver when 'Action' happened, and where I went. And to me, he just went to a place of being totally heartbroken and lost and confused. That's where the books helped me out, because it reminded me of where I'm at and how to feel, basically, what mood to be in. It was totally improv, that. It was crazy."

BARRY KEOGHAN for GQ

[transhitman]

This is probably super basic analysis but I've been bouncing this around in my head for a while so:

MOUTHWASHING'S DEHUMANIZATION OF VICTIMS VIA GAMEPLAY

Something that fascinates me about Mouthwashing is how well it uses its medium to characterize the cast. Or, really, mischaracterize them, and demonstrate the ways Jimmy justifies his actions by dehumanizing his cohorts. The flavor text differing between Jimmy and Curly is the most surface-level example. Jimmy comes off as detached, doesn't give commentary relating to anyone but himself. If he says something regarding another crew member, it's usually negative (eg Swansea emptying the vending machine, saying the pills are to "keep Curly quiet" rather than to ease his pain). Curly meanwhile has more personal things to say about the environment. He mentions the bet he made with Jimmy about the rope in the cockpit. To Jimmy, it's just plain rope. Curly comments on how Anya and Daisuke act during game night. Jimmy doesn't comment on the game at all.

So it's not just how they interact with things, it's what the player can interact with period. Most strikingly, Jimmy doesn't allow the player to look at Anya's corpse. He doesn't even comment on it like he would an object in the environment. Each monster that stands in for her also stands in for the unborn child, with Anya tacked on as an afterthought, if at all. Jimmy refuses to see her at all, let alone as a person.

Curly, like Anya's body, can't be commented on. The only interactions you have with Curly are to harm him - to in some sick way try to fix what's wrong with him. Jimmy hates Curly, but at the same time puts him on a pedestal, and so the gameplay reduces him to both an object to be served, and a problem to be solved.

Jimmy has it in his head that he's the only one pulling his weight on the ship. The rest of the characters are doing wildly important things offscreen, of course. Anya is keeping Curly alive on nothing but hopes and dreams, Swansea is presumably salvaging the cryostasis pods in utility, and Daisuke is keeping stock of their supplies. But all of that happens offscreen, where we the player can not see. So it might as well not have happened. All of the characters are affected by this distortion, but Daisuke is hit hardest. He is a competent man, as goofy as he is, but to Jimmy he might as well be part of the set dressing. He's worthless, does nothing, until Jimmy can use him to solve a problem - literally just another tool in his inventory to be exploited and discarded.

And of course Swansea is framed as the antagonist. He's a hindrance from the start, barring the player entry into part of the ship. He has to be confronted to obtain a key item, subdued to progress the story, killed to win the game. He is only an obstacle to Jimmy, not a person with more complicated motives. He is a thing to be overcome.

[pikahlua]

Ahhh I meant to ask, if you do end up giving thoughts on the leaks, I would LOVE to know your thoughts and this epilogue’s endings for bakugou (obviously!) and ochako as well.. in detail pls hehe

Everyone and their dog apparently wants my thoughts on the chapter, and I have to say I just don't wanna give them in the detail people seem to crave. Look, the chapter is meh. It's just meh. There are some cute things that happen in it and it seems that's at the expense of consistency in the story. They clearly didn't think about the things they were implying hard enough. Oh, Izuku and Ochako just didn't fucking interact for 8 years after high school but NOW Izuku wants to talk more? What about Ochako's school program with children that seems RIGHT UP Izuku's alley? They're both practically pursuing the same thing but apparently never breathe each other's air. Despite not thinking about each other for literal years apparently they're still attracted to each other, which, why? What are they attracted to? They're entirely new people now, they're meeting as adults with quite a few years missing between them? Oh, here's the rankings but also we're gonna give a throwaway line about how they're volatile and useless bUT STILL WE'RE GONNA GIVE YOU THEM. THEY DON'T MEAN ANYTHING ACTUALLY BUT HERE THEY ARE. Okay let's just imply Himiko is going to be Ochako's voyeur for life.

But worst of all is the weird idea that this is somehow the logical conclusion of the story that came before it. A conclusion should cap off the themes of its story and MAYBE introduce a new question to ponder. The story should LOGICALLY lead to the conclusion. But this conclusion basically turns around and says "Things change when you're an adult. You'll be a totally different person and maybe have new dreams. Except also you may not. Life is normal and boring and dreams sometimes die." What? WHAT????? Where's the theme of service to others? Where's the theme of heroes inspiring the next generation? Why are we implying heroes who are too good at their job will force their job to become unnecessary and die out but then try to prove no wait heroes are still necessary because sometimes people get weird urges to steal cars? What? Whatttt??? So heroes just exist now to be the quirk police basically. This is what all those kids were growing up to be? That's a weird implication after a whole story where the entire adult generation showed a VERY DIFFERENT AND MORE ADMIRABLE BRAND OF HEROISM (except for those that didn't, which was far more interesting than whatever this is). So the future of heroes AND villains is banality? Petty useless shit?

This is why 430 was such a good ending chapter. It DID showcase heroism in a mundane setting that actually had meaning and impact and inspiration. It made Izuku's adult life look like a fulfillment of his dream just in a new way.

In 431, Katsuki Bakugo is the only major character that shows a connection to the story that came before. He's the only one that still dreams of heroism and unity and inspiration, and he still thinks about who Izuku is deep down and resolves to save him from his stupidity AND SUCCESSFULLY DOES IT. He's the only one that resembles the heroic ideal that All Might supposedly instilled in everyone's hearts. MAYBE Ochako does too, but it's for a brief flash and then suddenly we're back on the mundane train (pun not intended) in a bad way.

And Shouto. Shouto can stay because he's the only character who PROPERLY introduces the question of "more to a hero than heroism" in the ending as a conclusion that introduces a new question, but it just...doesn't lead anywhere. I could see a potential path for that to have led the chapter somewhere meaningful, but it didn't.

So I maintain Katsuki is standing there watching on as the only character thinking about how the fuck to inspire people to be heroes again.

In summary, if I consider this the actual conclusion to the whole story, it's ass. I don't want it. It's useless and almost condescending. It's like the chapter is shaming me. How dare I enjoy the 430 chapters that came before, how dare I dream and feel inspired, how dare I expect anything of the concept of "hero" introduced by All Might and then the next one introduced by Izuku? But if I consider it an extra DLC bonus omake what-if didn't-think-too-hard-about-this-I'm-just-spitballing-and-having-fun-or-whatever side comic, fine, whatever, the mundane banality it wants to be succeeds, because I'm bored and I'm ignoring it. I'll have fun with it in fanfic maybe if I feel like it, but I ain't tying this shit into the themes of the actual MHA story. It doesn't belong there.

If that all sounds like more than you bargained for with your ask, it's because I received 30 other asks all wanting me to expand on these points, and so I decided to consolidate them all here. It's just too many asks for me to respond to individually. If I don't answer your ask, random anon reading this, it's because I consider your ask answered well enough.