Exposure (X-Files zine)
See also Exposure (disambiguation).
|External Links:||Indecent Exposure|
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Exposure 1 was published in 1997, is 121 pages long and was published in Australia. Although the zine includes one story that isn't XF, it still belongs to some degree to the X-Files slash fandom because Nicholas Lea, the actor who played Krycek on the X-Files, also played Vic on Once a Thief. There was a lot of fannish crossover and the small OaT fandom can't be viewed separately from the history of the XF slash fandom.
Content of Exposure:
- Left Buried by Gillian Middleton (Mulder/Krycek) (7 pages)
- Shark by Elizabeth H. (Mulder/Krycek) (7 pages)
- Temptation by M. Fae Glasgow (Mulder/Skinner) (9 pages)
- Then Something Else Will Happen by Gloria Lancaster (Krycek/Skinner) (4 pages)
- Grief by Elizabeth H. (Mulder/Skinner) (4 pages)
- Not In This Zip Code by Quill (Mulder/Krycek) (46 pages)
- Mulder in the Middle by Rosalita (Mulder/Krycek/Skinner) (6 pages). The story takes place some time after an alternate version of the fourth season episode Terma, which means Krycek doesn't lose his right arm. It is not to be confused with Mulder in the Middle by Orithain, the X-Files crossover series where Mulder gets to meet (and sleep with) several different characters that were all played by Nicholas Lea on different TV shows.
- Dostoyevsky’s Tea by Jane Symons (Mulder/Krycek) (12 pages)
- Phantom Pain by Cody Nelson (Mulder/Krycek) (5 pages)
- Homecoming by Glacis (Mulder/Krycek) (16 pages)
- Taking A Thief by Gillian Middleton (Once a Thief: Mac/Vic) (2 pages)
- Cartoons by Nola Frame-Gray and Sarah Bellum
Zine flyer summaries:
"Phantom Pain" by Cody Nelson (Mulder/Krycek) - Mulder and Krycek have their own particular ways of dealing with their losses… The tape had become an unvarying ritual, a dark path with steps that must be followed precisely, in order to avoid the pitfalls. Fucking Alex Krycek was a dangerous game, even when it was happening only in his own mind, and without the proper attention to the rites, he'd wind up stalking through the apartment looking for something to break, or sobbing in the floor, rather than curled up in a boneless puddle of steamy satisfaction.
"Homecoming" by Bren Antrim (Mulder/Krycek) - One of Bren's strongest stories yet. Krycek comes back from Russia to take care of some unfinished business. "It's bandaged, Krycek. It's not going to gross me out." Wary eyes, dark with expected rejection, slid sideways to meet his own. "It doesn't matter to me, Alex," he added fiercely. "I've seen worse." Dark brows rose in disbelief, and he snorted impatiently. "Fuck it. When did talking ever convince you of anything? You lie too well. So do I." With that, he leaned down and traced the tops of the visible scars on the stump of Krycek's left arm with his tongue.
"Temptation" by M. Fae Glasgow (Mulder/Skinner) - A lush tale of seduction; Mulder sets out to get exactly what he wants…Skinner. And then, the final act of the short-sighted: he took his glasses off, finally truly naked. He stepped closer to the broad, pale expanse, close enough that the sweet line of shoulder came into clarity, the muscles delineated and smooth, the long, sweet dip of Mulder's spine begging for the touch of his tongue.
"Left Buried" by Gillian Middleton (Mulder/Krycek) - "I know that of all the things I've done, and all the things I bear responsibility for, I can feel no regret over my actions that night. What I did was not murder, it was execution." Mulder knelt on the bed and pressed the gun to Krycek's forehead so hard it left an impression. "And who gave you the right to judge my father?" he hissed, tears squeezing from the corners of his eyes. "Who gave you the right to execute him?" Krycek closed his eyes. "The Government of the United States of America," he said clearly.
"Shark" by Elizabeth Holden (Mulder/Krycek) - He could not tell which of many confused emotions was uppermost. Anger? Hatred? Triumph? Pleasure? "Alex," he said, as if it were a friend he was greeting. The bright eyes flashed with ironic amusement. "Fox," replied Krycek, the mockery suffused and sultry. "Care for a game?" "Many games," said Mulder. "Which one did you have in mind?"
"Then Something Else Will Happen" by Gloria Lancaster (Krycek/Skinner) - Rescuing Krycek from the Consortium proves more rewarding than Skinner ever anticipated; a sexy twist on the usual pairings… "This your way of saying thanks," Skinner growled, and his head tipped back, the sensation of those patient, wonderful hands on his cock getting better and better. This was insane, horrible, this impulse to give in, let Krycek pleasure him, let Krycek play whore, do whatever he wanted. And it could happen, it was there in every touch from those hands, every breath in his ear, now groaning in time to that push at his ass. "Sir, sir," over and over. Krycek would do whatever he wanted him to, would obey every order from now on.
"Grief" by Elizabeth Holden (Mulder/Skinner) - Skinner is caught up and consumed by Mulder's inexpressible anguish. Skinner could not cry, but if he could have, he would have now, under the spell of Mulder's consuming anguish. Mulder did not cry. Nor did he speak. Instead, his eyes still on Skinner's, he reached up and unbuttoned the top button of his shirt. Then the second…
"Not in this Zip Code" by Quill (Mulder/Krycek) - Mulder finally finds his truth. Or rather, it finds him, takes him over, takes control of his life, and gives him every answer to every question he never had. "They locked me away, Mulder. Locked me away so that I couldn't betray them. But they forgot one thing, Mulder..." Alex Krycek opened his eyes and stared out at Fox Mulder. Mulder looked into those eyes and to his horror a black film seemed to cover them. "Sweet Jesus… what are you?"
"Mulder in the Middle" by Spookette (Mulder/Skinner/Krycek) - Sexy indulgent PWP with three of our favourite boys. Krycek was right beside him and he was making the most delicious noises. He propped himself up on an elbow and immediately discovered the reason for Alex's moans. Walter had Krycek's cock in his mouth and was working him intensely. He moved to press his lips against Krycek's. His ex-partner wrapped his arms around him, clinging to him in his pleasure. Alex broke off the kiss long enough to pant out, "Is he always this good?" "Oh, yes, always."
"Dostoyevsky's Tea" by Jane Symons (Mulder/Krycek) Mulder meets his match when it comes to onanistic style, and learns to have a little fun at the same time. Dear Scully, I am having an interesting time here in St Petersburg. It is snowing again. My original plan may have been to bring Krycek back to Washington with me and put him in jail, but I don't want you to think I've gone completely out of my mind when I tell you I am now hiding in a hotel room with him and we are both on the run from the Agency for Federal Security. We are planning to escape from Russia together. At least I will have some interesting holiday photos. Please feed the fish for me. Love, Mulder.
"Q-File" vignette by O.T.C. (Read it, be surprised.)
"Taking A Thief" by Gillian Middleton - A short, smart, Once A Thief story. Vic finally gets as much as he can take of Mac's smart ass ways…
Reactions and Reviews: Issue 1
There are too many great stories in this zine to describe them all so I'll just name a couple. Quill's 'Not in This Zipcode' is a wonderful casefile with a fascinating romantic twist. Jane Symons' 'Dostoyevsky's Tea' is now available online but this romantic and humorous story is well worth purchasing in print. 
An X-Files slash zine, published by IIBNF Press (that's Bernice, and you can reach her at xxxxxxx to ask about price and postage; there's no info in the zine and I don't remember what I paid). 130 pages of stories, poems, and occasional artwork, plus LOCs on the first issue. No word count provided. The fantasy a/u novel 'A FISH CALLED KRYCEK' comes free with this zine, but I won't discuss it here.
Claimer: A disclaimer is a way of disavowing responsibility, of saying "it's not my fault; I had nothing to do with it." Well, this review is my fault, and I had everything to do with it. In it I say, as eloquently as I can, what I thought of the zine and why. If you don't care what I thought, cool -- hit Delete now (or, if you're on digest, search ahead to the next occurrence of "From:"). If you do care, more cool; let's have a conversation.
Physically and visually, this zine is very, very nice. The layout is both legible and space-frugal, in double-column ten-point Times with extra line spacing (looks like 13 point) for readability. Story titles, author names, running heads and foots, and the table of contents use attractive display fonts. I was apprehensive about the quality of proofreading, since a previous zine I bought from Bernice averaged almost nine spelling, grammar, and punctuation errors per page. However, there are very few errors in DOUBLE EXPOSURE. I don't know if you've changed your procedures or what, Bernice, but whatever you did, keep it up!
"Denial," by O.T.C. (37 pp.): Shortly after the events of Tunguska/Terma," Mulder and Scully take Krycek into custody, hoping to get information out of him. All the ins and out of the plot - and there are a few, involving the Smoking Man, more deals and betrayals, and a double surprise ending -- allow Mulder and Krycek to have tense, fraught conversations and to feel the attraction building between them. I like everything O.T.C does with them and the tensions between them; the story is told from Mulder's perspective(though it's not first-person), and she does a good job of showing his conflicted impulses to both kiss Krycek and slug him one. I was a bit less satisfied with her Scully, mostly bcause of the ease with which she is overpowered; I want Scully to be more capable than tat. Also, I doubt that the dose of drug she gets would incapacitate her that much. But she (and Skinner, who has a walk-on) are really not that important to the story, and the center of the story is strong. This story, by the way, is only about an R rating. Never fear, though; the rest are well into the NC-17 Raunch Zone. This one makes a good introduction to the whole zine.
"Current Address Unknown," by Maria Maniaci (6 pp.): There are two story genres combined here: the journal kept by one character that chronicles events (Krycek, in this case) and the character sitting alone musing while no events actually happen (Mulder, in this case). I could hear Krycek's voice in the journal, which is crucial to the success of this kind of genre. (I still always have a nagging suspicion that nobody ever writes as fluently and novelistically as this in a journal; but I suspend my disbelief, and it works fine.) Mulder comes through in this story in two views: the narration of his musing, and what Krycek says about him. Neither quite comes clear, and the way in which these two genres and stories merge raises even more questions. I'm still not sure how Mulder feels about all this, or what the consequences of the story's events and musings will be, but I'd really like to know. Though it leaves me a bit off balance and uncertain, I think this story is a success. In fact, it's a success *because* it does so.
"Subaudition," by torch (5 pp.): The zine's first M/Sk story, but don't fret, it's not the only one. Like "Current Address Unknown," this story is designed to raise more questions than it answers, and it succeeds. But while Maria's story leaves me with a pleasant shiver, torch's leaves me with a cold one, a helpless fearful shudder. Torch's storytelling is, as always, vivid, subtle, and beautiful; she's a master of the telling detail and the effective understatement.
"Wilderness," by Sugar Rush (6 pp.): Two short sexual encounters two days apart in the course of Tunguska/Terma, one harsh and angry, the other... well, read the story. The first is through Krycek's perspective (in third person), the second through Mulder's. Krycek seems stronger, more caustic, in the first; although that may be just an artifact of the switch in perspective, I found it a bit jarring. I think the story is too short to sustain the time jump and perspective switch entirely successfully. The first half works better for me, and I bet we could divvy up slash fans according to who agrees with me and who prefers the second half. Still, it's a good exploration of the characters' fears and hurts, and how they try to both salve and aggravate them with each other.
"Private Dancer," by Jill (5 pp.): This was the only story in the zine that did not work for me. It's well enough written, I have no complaints there, but the premise utterly loses me. Mulder, curious about the new partner he's been assigned, follows him to a strange, swank club, where he discovers that Krycek has a second job as an erotic dancer; they have great sex and agree to a continuing rendezvous. Pardon me? I have a hard time believing that Krycek would do this (or even has *time* for this; as we know but Mulder doesn't, being an FBI agent is already his second job), and an even harder time seeing Mulder flinging himself onto Krycek in happy lust. Except for a few sentences, this story just doesn't have anything to do with the characters and situations and dramas and dilemmas I see in XF and read the fanfic for. It's a good enough story on its own - with original characters in an erotica anthology, say - but in this zine it does nothing for me.
"Purely Fiction," by Gloria Lancaster (10 pp.): I gather that the title is Gloria's way of telling us not to even try to make the set-up for this one make sense, and I second her advice completely. Do not, repeat, *not* ask just why or how Skinner and Mulder have ended up in a leather bar wearing, respectively, damn little and less. Just accept it and go with the flow. And what a flow it is! What makes this one work, where "Private Dancer" didn't, is that these characters are recognizable to me as Mulder and Skinner, and that the tensions and longings fit them and the XF universe. Mulder is eaten by a passion he doesn't fully understand and isn't sure he can resist. Finally, to his own surprise, and perhaps to Skinner's, but not of course to ours, he doesn't. Like many in this zine, this story is third-person through Mulder's perspective, but it gives a good insight into Skinner's feelings as well, even when Mulder himself doesn't seem to be fully aware of the significance of what Skinner is saying or doing; this is a difficult writerly trick, and I admire it. I also really admire the pacing and rhythm of Gloria's writing. The paragraphs toward the end (if you've read the story, you'll know which ones I mean) simply stop me in my tracks, awed by their structure, their tumbling, irresistible current.
"Rat Tale," by Liza McGrath (4 pp.): For a change of pace, a story narrated by Krycek; we haven't seen this since the selections from his journal in Maria's story. Krycek is watching Mulder, and Liza does an excellent job of showing us not only what Krycek is like, but what Mulder is like, through what Krycek sees and the way in which he describes it. Then you get to the end of the story, and you suddenly realize that the few odd things that niggled at your attention as you read meant something completely different from what you thought, and it becomes abruptly clear that either Liza needs to immediately stop taking whatever drugs she's on, or she needs to take a whole lot more, and in either case she should be spanked. But you're laughing too hard to do it. At least, you think that gasping noise you're making is laughter. Way to go, Liza.
"Spalny Vagon," by Bren Antrim (13 pp.): Scully and Mulder take under their protection a computer programmer named Alec Neekto, who has attracted the menacing attention of the Consortium and has come to them for help. But since Neekto is a double for Krycek (and for some time Mulder is certain that he *is* Krycek, pulling some kind of bizarre scam), things get complicated fast. Mulder's effortfully- suppressed attraction to Krycek finds free play when the man in his arms may or may not be the man who betrayed him. And then Krycek - another Krycek? -- shows up, and things get even *more* complicated. I liked this story, but I don't know enough details of the show (and of clone physiology) to understand what happens at the end. That is a lack in me as a reader, not in the story. Scully, Mulder, Neekto, and Krycek (or should that be "Scully, Mulder, and Neekto/Krycek"?) are all vivid and engrossing, and the end is a grabber even though I want the subtitled-for-the-clueless version.
"The Shaft," by Elizabeth Holden (6 pp.): Mulder and Skinner in a mineshaft. No, no, not "in The Mineshaft," although just as they might in the back room of that notorious bar, they do have sex. (Oops, did I give the story away? No, I'm sure you all expected that.) This story make an interesting comparison with Gloria's "Purely Fiction"; in both, the characters are isolated from others and thrown together in a stressful situation, and in both Mulder's long-suppressed longings finally break free, and he risks all in a reckless throw of the dice. Elizabeth's writing is more lyrical than Gloria's, though, and this is a more poignant story, less rollicking fun, although both stories have aspects of both poignancy and jollity. I can't resist quoting a bit of it here.
- "Sir?" asked Mulder softly.
- "I wondered...." He trailed his lips along Skinner's lips.
- "What did you wonder?" asked Skinner.
- "Whether you were going to beat me to a pulp for this."
- There was a pause. "No," said Skinner, very gently indeed. "No, I don't think so, Agent Mulder. Not at this time."
If that doesn't get your heartstrings clenching, then I hope you're reading my reviews in order to search out the stories I hate and avoid the ones I love, because if that passage doesn't work for you, we probably aren't going to agree on anything. I love it.
"Krycek Unarmed," by Kal Romine (13 pp.): This story is simply stunning. I haven't seen any of Kal's work before, but I have just asked a friend to send me everything she's got by her. Just after Tunguska/Terma, Krycek shows up at Mulder's door; maimed, bitter, enraged, and despairing. The story consists almost entirely of his and Mulder's conversation. Including the sex. One of the things that has been bugging me lately in slash is the way in which the characters seem to decide once to have sex, and then do it -- as if sex were a unitary act, like sneezing. As if they wouldn't be deciding again, over and over, at every stage, at every moment. Here nothing is skipped, or fastforwarded through; the characters are wholly present at each moment, wholly antagonists, wholly clinging to each other for support -- often at the same time. Mulder's brutal fascination with Krycek's mutilation rivets me (and both appalls and comforts Krycek), and Krycek's furious despair rivets me (and both gratifies and horrifies Mulder) just as much. I think this story contains the best single line of dialogue I've read in months: Krycek's bitter plea "Just fuck me like you're beating me up, okay?" With this one story, Kal Romine has put herself on my "buy the zine for the sake of her story" list.
"Fish Are Jumping," by Jane Symons (19 pp.) A lovely ending to the zine. Krycek is entertaining himself in Hong Kong when Jerry Kallenchuk calls to say that the FBI are breathing down her neck, in particular one Agent Mulder. Imagine Krycek's surprise, then, when Mulder shows up in Hong Kong only a few hours later, far too soon for him to have caught a flight from the U.S. But is it really Mulder? And if it's not, does Krycek care, when whoever (or whatever)-it-is is rubbing a foot into his groin under the table of an expensive restuarant? This story is both funny and poignant, romantic and cynical (as is Krycek himself). Jane's style is wonderful, and she tells the story through Krycek's perspective with an arch wit that is just right. The only problem I have is the extremely sudden cut from Hong Kong to the silo, a considerable time later. Yes, too much explanatory narration would have been tedious, but a little connective tissue would have been welcome; this is jarring. However, it's just one pothole in a 19-page joyride.
Why do so many fans write blank verse? You'd think they thought it was easy. I think blank verse, while certainly the easiest form of poetry to write, is the hardest form of all to write well. In all poetry, every syllable matters, and an exquisite sensitivity to the sound and rhythm of words, to their connotations as well as their meanings, is needed; in blank verse, the poet hasn't got any supporting structure, so it's even easier to wobble. It's very rare for me to unreservedly like fan poetry, and I'd call most of the poetry I've seen in ten years in fandom "unfortunate." Still, unlike some reviewers (not to name names, but hi, Christy), I will discuss it, and you've all been warned of my standards. If they're not yours, that's cool; I hope I give enough info for you to judge independently what you might think. Or to start a conversation about poetry in general.
Laura Trout contributes a pair of six-line poems called "Fox" and "Alex." These are gimmick poems -- I'm sure there's a technical name for the gimmick, but I don't know it - in which the first letters of the lines spell out a word: MULDER in "Fox," which is about Mulder, in Krycek's voice, and KRYCEK in "Alex," which is about Krycek, in Mulder's voice. Except that these are not really, to my ear, in the characters' voices. Poetry is a stylized form of language, but if it is meant to be a character speaking, I still want it to be language I could hear him using (just as I want Krycek's journal or his first-person narration to be recognizably in his voice, even while I know that nobody actually narrates their own life in that way). I cannot hear Krycek saying "Ease my pain; let me find forgiveness in your arms," or Mulder saying "Yearning uncontrolled, I find fulfilment in your arms." The emotions of the poem are entirely believable but their expressions are not, like a story whose ideas are sound but whose narration is clumsy.
Silk offers a two-stanza poem called "Lullaby." Actually, this looks very much like song lyrics. Like many songs, it doesn't make especially good poetry written down, but I'd love to hear the song; I think that with the power of the music behind it, this would be really good.
Gwendolin has a pair of poems, "Moments" and "Obsession"; like Laura's, they're a Mulder and a Krycek. Like Laura's, too, the emotions are believable but their expression doesn't work for me. Too barren and flatly stated; not enough, well, poetry. They read almost like prose with the lines broken off in odd places.
Silk's poem "Wishes" is in Krycek's voice, and it has a rhyme and rhythm structure. I like this the most of the poems in the zine (if I read Silk's as a poem; if I read Silk's as a song, I like it more); it has a voice I can hear as Krycek's, and it works with innuendo and subtlety, rather than saying everything flat out (and with a self-awareness I don't think the characters actually have). There are still things that bug me here -- the rhyme and rhythm patterns are only barely adhered to in places, in a way that I find jarring, and I'd have liked to see the darkness imagery played up a bit more; it has more potential than the rather pedestrian "wishes" theme. But this poem suggests more than it says, rather than less, and that's well done.
(How come nobody writes Skinner poetry?)
Beyond the stories and the poems, there are a few pieces of artwork and some sillily-captioned photos.Overall, I recommend this zine wholeheartedly. 
Double Exposure is the second zine in the series. It was published in 1998 and is 138 pages long.
- "Denial" by O.T.C. - Mulder/Krycek (17 pages)
- Krycek and Mulder - Mulder/Krycek (20 page)
- "Current Address Unknown by Maria - Mulder/Krycek (6 pages)
- "Subaudition" by Torch - Mulder/Skinner (4 pages)
- "Wilderness by Sugar Rush - Mulder/Krycek
- "Private Dancer" by Jill - Mulder/Krycek (5 pages)
- "Purely Fiction" by Gloria Lancaster - Mulder/Skinner (10 pages)
- "Rat Tale" by Liza McGrath - Mulder/Krycek (3 pages)
- "Spalniy Vagon" by Bren Antrim - Mulder/Krycek (12 pages)
- "The Shaft" by Elizabeth Holden - Mulder/Skinner (6 pages)
- "Krycek Unarmed" by Kal Romine - Mulder/Krycek (12 pages)
- "Fish are Jumping" by Jane Symons - Mulder/Krycek (12 pages)
- Poetry by Silk, Laura Trout, and Gwendolyn
- Cartoons by Katy Deery, Art by Cody Nelson, Bernice Russell, and Liza’s husband. Titbits from Gwendolyn.
Reactions and Reviews: Issue 2
An X-Files slash zine featuring M/K and M/Sk. The second of this series is every bit as wonderful as the first. Jane Symons' lends yet another gorgeous tale with "Fish are Jumping', a story that takes place while Krycek is in Hong Kong and runs into a rather curious and helpful shape-shifter. I also highly recommend the bittersweet tale by Kal Romine called "Krycek Unarmed" that will have your eyes tearing even as it has you squirming in your seat. 
Indecent Exposure was published in 1999 and has 140 pages. All stories feature Krycek. In addition to the stories it includes poetry by Gwendolen and Sterling and art designs by Killashandra and Bernice.
Note: Some of the art may not be present in the second edition. From the artist, Bernice: "I had little to no feedback on the art from that zine so I'm not putting it into future issues. I think it's just a waste of paper to most folks." 
- Body Guard by Katy Deery (6 pages) ("Calvin Wayne Mitchell was his name. Trailer trash, his death would be investigated for a couple of weeks fit most, then forgotten. One of the unimportant ones, gut not to Alex. No, to him Calvin Wayne Mitchell had been very important. Calvin Wayne Mitchell, who posted inflammatory statements on the web about Fox Mulder, destroyer of the second coming. Mulder, who had once been a saint to people like Mitchell and was now the devil incarnate to his kind.")
- Bad by Cody Nelson (11 pages) ("I want you to hurt me. Mulder could still hear the precise tones of Krycek's voice, could still see his face, his stance, exactly as it had been the first time he'd said those words. Hell! wanted to laugh and say, Are you crazy? No way! The blood pounding through his body, throbbing in his cock, had choked the laughter in his throat.")
- Safe Haven by Sugar Rush(18 pages) ("Times like this made me sorry I never got the light on my digital watch fixed. I'd lost all track of time sitting here on the floor in the dark, with nothing but Mulder's shallow, steady breathing and the slowing thump of my own heart for company. It was way too small a space for us to sit apart comfortably, though Mulder had already slumped over next to me, head resting heavily on my shoulder, still pretty much out of it I couldn't help reaching up, fingers carding through his hair, finding the lump at the nape of his neck where Leather Boy had whacked him, still barely oozing blood. I licked it off my fingertips, stomach cramping, tearing at this tiny taste of sweetness, craving more. I needed to feed, and badly.")
- Rat Rat by Micetro (13 pages). The story is a sequel to A Rat’s Tail by Liza. ("He tried to capture that tongue - wrapping his arms around it as it effortlessly unravelled his mind -but it travelled on, laying his soul bare, its strength greater than his own. As it moved, massaged, teased his new body, he gave in, lying back, his hands grasping Mulder's nose. Squeak!")
- After Bite by Sugar Rush (4 pages) ("My skin prickled in the night air, I wondered if it was conscience more than the weather. I wondered about a lot of things, not the least of which was my own sanity. It was weird, too fucking weird and twisted and even a little sick, but since when had our relationship been anything else?.")
- Sleeping Beauty by Gwendolen (2 pages) ("Sometimes Skinner wondered what the younger man saw in an old man like him, why he came back. There were prettier men outside, younger men and many better suited for this than himselfc Could it be the lure of danger? The constant threat of discovery?")
- Baptism By Fire by Jill Morrison (2 pages) ("His mouth moved lower, kisses falling over the tendons of Mulder's neck, pausing at his breastbone, tasting the salty tang of his sweat His bare skin stung where the air touched it, melted where Mulder kissed it, stroked it.")
- The Spy Who Came Down With A Cold by Jane Symons (12 pages) ("Unable to move or speak for fear of breaking the spell, Mulder stared back. Krycek put out his hand, the fingers trembling a little, and ran it across Mulder's chest, stopping when it reached a nipple, explorjng tentatively through the T-shirt fabric. Everything about Mulder that was capable of hardening did sa'immediately. Even his teeth seemed to grow harder. It appeared to be all the encouragement Krycek" needed. Mulder never knew what hit him. He'd heard of sex bombs, of course. He'd just never experienced one before. Up until now, he'd experienced sex and bombs separately. Probably more bombs than sex, if he came to work it out The combination scared him widess and drove him out of his mind at the same time.")
- Acceptance by OTC (63 pages) ("Mulder knew that he was not going to attack Krycek again. He had spent two nights in bed with the man and even now was lying with Krycek in his arms. He knew that the tenible emotions that had gripped him that night simply did not exist in him now. A great part of the change that both Scully and Krycek had noticed about him came from that knowledge. However, he still found it perverse that Kiycek should show such confidence in him and demonstrably Krycek did. Even without the suggestion of sex, Krycek clearly trusted him.")