#i don't think that's a theory. i think it's the canon intent. and this is why. i think people on the whole also give jacobi and maxwell

[preciouslittle-bhaalbabe]

The devs added alot of really cool unseen stuff during scenes that we can find through freecam but I'd be careful about trying to incorporate stuff into canon. I just saw a post that Astarion's face goes neutral when the camera isn't on him and that's his "mask slipping". That doesn't really make sense to me because Tav is still obviously looking at him. It would be strange for that to be what he does. His face goes neutral sometimes because that's the base idle animation state for all characters. I don't think there's any significant lore reason why he does that besides it's a video game and they don't need to waste resources setting animations for Astarions face when the camera isn't on him. Most of the time, a character will idle in the last expression they made. Other times they'll reset to a neutral state.

Form theories all you like, but just keep in mind that some things are just quirks of video game design. That the devs create scenes in a certain way and they're gonna look a little strange when viewed from any other angles. It's not always intentional. The only reason I bring this up is that I've seen plenty of people using stuff found in freecam to justify their narratives about certain characters. If the devs wanted you to see it, they would show you.

[egophiliac]

Hi it's just to let you know that the official romanization of Revaan's name is Raverne ! Also they have romanized Baul's name to Baur !

Twst coming back at us again with the least expected romanization! thank you everybody (oh god my inbox) (no it's great, I literally asked for this and the reactions have been INCREDIBLE, thank you all!)

I do like Raverne though, I think it's got a nice fancy sound to it! (I had kinda suspected it was going to be an R instead of an L, so the fact that it's SO close to Laverne except for that is hilarious to me personally.) and Dragoneye Duke is honestly probably the best translation for his title, I wasn't envying the localizers that one. :') Baur instead of Baul I was NOT expecting, but in retrospect I think his name's supposed to be a reference to the Bauru crocodile, so that actually makes way more sense!

someone else also said Meleanor has become Maleanor, which is the REALLY weird one to me, because I was so surprised it was written as Mel instead of Mal in the first place?! oh god no I can't decide which one I like better. 😭 (I wonder if they might change it to Mal...they have made romanization changes before) (like I remember House of Distraction being corrected to House of Destruction in Playful Land) (I did check and she's still Mel for now, but I dunno, they might Mal her up and some point and save me from having to make a decision about which one to use) (HECK I CAN'T DECIDE)

uhhhh thank you for letting me ramble about anime names, let's just say MONOGRAMMED SWEATERS FOR EVERYONE

[commsroom]

circumstances surrounding the “leaked” documents about eiffel’s sentencing in need to know, as i understand them:

one of the very first things kepler does is offer eiffel, minkowski, and lovelace a drink. in true “at any given moment, kepler has about eighteen ulterior motives” spirit, it is, among other things, “hospitality”, sure, a test for eiffel, definitely, but… i think the main reaction he was checking for was minkowski’s. will she look at eiffel, or react to his reaction? how much does she know? how much does he trust her?

in don’t poke the bear, jacobi and maxwell stop lovelace from breaking into kepler’s server by pretending to be in on it with her: “she’s very good. it might turn into a problem.” / “i’ll run it by kepler.” two episodes later, files from kepler’s very secure server are “leaked.”

(the words "need to know" are spoken offhandedly by eiffel in the episode itself, but it also calls back to the excuse maxwell gives lovelace: "colonel kepler practically lives by the words 'need to know.' and, apparently, nothing i can say will ever convince him that i 'need to know' everything that's in our databanks.")

need to know opens with minkowski finishing an eleven hour shift, and then finding out kepler moved that shift to, well. now. she’s already frustrated and sleep deprived.

minkowski complains to kepler. jacobi and maxwell, on cue, barge in and complain to kepler. kepler assigns minkowski, jacobi, maxwell, and lovelace to punishment detail, taking eiffel out of the group because “you’re the only one who hasn’t wasted my time with pointless whining.” lovelace says: “um, i don’t think that i did any complaining either, so…” but that doesn’t matter. it’s just an excuse to remove eiffel from the group; he could just as easily have been singled out for special punishment. either way, it was going to happen.

hilbert isn’t there. not the most significant factor, since he’s already been effectively sidelined by kepler, but remember he already knows about eiffel’s sentencing, doesn’t care (about eiffel’s history OR about anyone else’s personal drama), and will later respond to minkowski asking by telling her to grow up and get back to work. it simplifies things to not factor him in.

consider the files themselves: we know from happy holidays that maxwell not talking to her family is common knowledge, but jacobi reacts like it’s news. we know from hera’s performance review flashback in memoria that kepler and jacobi were aware of “multiple attempted crew member homicides” in her record. the file about hera’s bentham directory was on kepler’s server. if there’s one person who would’ve been briefed on everything there was to know about hera, it would’ve been maxwell; her shock is entirely feigned. in fact, almost every reaction from jacobi and maxwell here is feigned. they’re black ops specialists who arrived prepared with divide-and-conquer tactics. there’s no reason they wouldn’t know these things. also note that none of the “leaks” reveal anything about the mission they didn’t already know, and that nothing about the si-5 is incriminating - if anything, it’s mostly silly and even humanizing. and, yes, all of that contextualizes maxwell’s reaction to “skiing?!”

eiffel’s file comes through last, once they’re already worn out. kepler sends eiffel to check on them at the same time so that he’ll walk in. jacobi shows minkowski the file. he lurks around waiting to see how her not-confrontation with eiffel goes, and then cements the thought in her head: what about you? are you going to care?

it’s true that there are aspects of the mission only kepler knows, but as far as information on the hephaestus crew goes (barring one very particular detail about lovelace)? that’s part of the job they were chosen for. when they kill the plant monster, kepler says: “you think we didn’t know about that thing? please. we listened to every log that you beamed down to canaveral.” kepler’s entire foundation is shaken when jacobi turns on him because this is how they operate: “have one person take the blame, say the mean things. meanwhile, the poor, betrayed little guy gets a bit more leeway - just enough to sneak up and hit you from behind.” the show is not subtle about any of this. you can pick apart any early-s3 interaction between two hephaestus crew members and an si-5 agent and see the same divide-and-conquer tactics at play. jacobi and maxwell are always - in morals, loyalty, job description - closer to kepler than they are to the hephaestus crew, and to even sort of believe otherwise is falling for that facade. it’s worth remembering that the hephaestus crew are prisoners. some of them were aware of it from the start, and some of them were lied to, but none of them were meant to leave. the si-5, on the other hand, went up there with a unified goal, and the knowing intention they would be, among other things, prison guards.

[good-chimes]

Proposing:

Grand Unified Scarian Theory

a single, overarching Scarian romance arc across the whole Hermitcraft and Life series as well as a primer for anyone curious about the early seasons.

We start with NEIGHBOR MEET CUTE in early Season 6:

Season 6 begins in a peaceful pirate bay. SCAR, an established hermit just beginning his third season, is happily making pirate caves. Into this tranquil scene comes GRIAN.

Grian, fresh-faced and new to Hermitcraft, picks a sea-themed base location right next to Scar’s pirate caves. He gets himself set up and starts his base. Even someone like Grian can get newcomer nerves, and he spends the first few weeks desperately trying to act like a normal person instead of the horrible gremlin he really is.

(Some hermits are taken in by this. Doc and Xisuma give him pity diamonds, something that—after getting to know Grian—they noticeably never do again.)

The only person exempt from Grian’s just-a-little-birthday-boy act is Mumbo, whom Grian already knows, clearly has a puppy-crush on, and pursues relentlessly.

Grian and Scar don’t interact much at first. Grian sees Scar for the first time while passing by his base. Scar instantly falls in one of his own caves and dies.

Grian panics.

Grian: I DIDN’T DO IT!

Scar, intrigued by his new neighbor, makes some overtures of interest:

1. Scar leaves a fully enchanted trident at Grian’s base as a welcome present. This is a generous gift for the cute neighbor you have a crush on and frankly the most normal thing either of them do in the entire years-long relationship.

Grian goes ‘huh!’ at the trident, never finds out who sent it, and immediately forgets the whole thing.

2. Scar entertains Grian’s traveling-salesman pitch and buys his overpriced armor boxes.

Multiple jokes about the size of Scar’s wallet. Grian clearly pleased by the transaction.

3. Scar makes Grian a complementary in-joke build (Spongebob’s house by Squidward’s house).

This delights Grian immeasurably for five minutes until he turns back to his prank war with Mumbo.

(Poor Mumbo. Clearly immensely fond of Grian but not sure he wants to be in a relationship with a lit stick of dynamite. This is very understandable.)

By this point Scar obviously kind of clocks that Grian is insane about Mumbo. This isn’t much of a leap. The entire SERVER is aware that Grian is horribly in love with Mumbo.

Ah. That’s okay. Scar backs off a bit. He recognizes when he’s not really in with a chance.

Maybe this thing he has with Grian is just going to be a friendship, and that’s okay! Having a crush is fun even if you’re not going to do anything about it. Scar is going to build some shops about it and be normal.

Both of them are going to be very normal.

FLIRTING (First Stages) – mid-Season 6

Both of them immediately forget to be normal.

Grian has started a detective agency and has no mysteries to solve. Scar instantly invents a cookie-based mystery supervillain called the Jangler and leaves Grian a series of tantalizing cookie-based puzzles for enrichment in his enclosure.

Grian has invented a game where you kill people with rockets. Scar volunteers to get murdered. Both of them are delighted.

Scar and Cub’s business empire is incidentally crushing Grian’s startup venture. There is no reason for this to be so flirtatiously charged.

At this point all the hermits move to a new village because of the Minecraft update. Grian starts a who-can-build-the-tallest-house war with Mumbo and Iskall. Scar notices and starts doing the same from the other side of the village.

It quickly gets so wild that Mumbo taps out (Mumbo does not do well with intensity, would rather just not, thankyouverymuch), and it's only Grian, Iskall and Scar.

Scar builds a wild giant plant eating his rocketship, and then a castle in the sky, and an enormous version of himself firing a canon at Grian's house. This is the first time you can really see Grian trying to hold in shrieks when he flies back in to see what Scar has done while he's gone.

Grian’s interest has been caught. He’s gone from barely seeing Scar to checking on him regularly. What’s our good friend Scar up to? What’s Scar done? What is Scar going to do next?

FLIRTING (How To Catch Your Crush’s Interest By Building A Secret Government Facility) – late Season 6

What Scar does next is put on a snazzy military uniform, team up with Doc to steal the time machine Grian invented last week, then, in the most effort someone has EVER gone to to get Grian's attention, spend weeks on end building a fully-functional 'Area 77' military base and containment facility to stop him getting it back.

Turns out this works beyond Scar’s wildest dreams.

Grian INSTANTLY obsessed with breaking into Scar’s base and retrieving his time machine.

Grian persuades Ren into forming a hippie camp with him next to the base and spends weeks entirely fixated on Scar. Meanwhile Scar, who is starting to really understand how to get and keep Grian's attention, builds more and fancier infrastructure to keep Grian out. This is also where Grian really starts looking at Scar's art—the insane cliffs Scar has build around his new hangers—and awkwardly not quite managing words, because it would be very embarrassing to just outright say the word beautiful, and Grian’s a very normal and non-embarrassing person.

In the climax of the season, Grian-the-hippie breaks into General Scar’s base.

Nobody can say that Scar making himself a top brass general and Grian making himself an anti-establishment flower power hippie does not end up with plausibly-deniable not-making-out Grian-provoking-Scar-into-holding-him-against-a-wall.

but.

BUT.

This is Hermitcraft. It’s temporary. Scar and Grian both know it was a bit. A bit they both got super into, sure! But a bit. Not weird at all.

(“Sure, mate, not weird at all,” Mumbo says, after all of this is over. “Then why are you making it SOUND weird Mumbo you’re the WORST”)*

(“Sooo....” Cub says, and Scar says, “I know. I know!”)*

*not canon but you can't tell me it didn't happen off screen

FLIRTING (But What About…) – early Season 7

Okay, so that was weird, but Grian is definitely still in love with Mumbo. The Mumbo pursuit is going great and Mumbo definitely doesn’t look nervous whenever Grian turns up with a new idea. Grian is going to get Mumbo to fall in love with him and they will marry in the spring and have a dozen beautiful children redstone contraptions.

Grian attempts to make it more official with Mumbo. Surely they have been flirting long enough, they are ready for the next stage! This is in no way a reaction to Scar becoming a weird wizard in a way very unsettling to Grian and building the kind of wild organic tangled forest build that Grian is fascinated by but can't even begin to comprehend.

Everything is very under control in Grian's life. He's now official boyfriends with Mumbo. They live together and have a messaging system and everything.

Mumbo announces he’s moving out.

It’s-not-you-it’s-me

You’re… you’re moving out? Grian says, in the smallest possible voice.

We’ll still have the messaging system, Mumbo says, unconvincingly.

FINE, Grian says, I’m moving out TOO.

Mumbo moves out.

Grian deals with this in the healthiest possible way. He invents a mayorship and attempts to give it to Mumbo.

Grian is Mumbo’s self-appointed campaign manager so Mumbo has to be round him ALL THE TIME, it’s for the CAMPAIGN, Mumbo.

Mumbo, a man who doesn’t deal well with pressure or responsibility, is maybe not the ideal choice for mayor, something that has escaped Grian entirely.

Mumbo builds a robot and attempts to palm off all responsibility for decision-making onto it. Grian immediately calls it their son.

Grian puts his moustache all over the server.

NO other hermits support them for mayor (except Scar, from a lost bet, who Grian has continued to have intensely weird flirtations with while all this is happening)

Things reach a fever pitch. Election day arrives. Mumbo doesn’t want this actually but try telling Grian that. The entire MumboGrian edifice that Grian has obsessively and wildly build has reached an unsustainable pitch and finally comes tumbling down around them.

Mumbo votes Scar for mayor.

Grian votes Scar for mayor.

Mumbo disappears for several weeks to do some nice soothing redstone and calm down.

FLIRTING (Civil War) – late Season 7

Everything has calmed down now. Scar is mayor. Mumbo is...somewhere. Grian is going to work on his base normally.

Grian has a new project. He wants to build in the new nether biomes. He builds a huge and echoing and obsessively inverse version of his huge and echoing and obsessively symmetrical mansion base. It's very impressive. It's totally hollow. There's... no one else here.

Grian decides that okay, he is going to bring PEOPLE here.

He invites Mumbo, because he hasn't seen him in weeks. He invites Bdubs, because Grian above all loves genius. And he invites Scar. Because of course. Everything major Grian does now, Scar is an of course.

Bdubs shows up! Generously builds Grian's entire mansion interior. Mumbo shows up. Builds a tiny upside down disco shack.

Scar does not show up.

Scar is being mayor! Scar is a very busy and important man! Scar has spent the last few weeks obsessively replacing every single goddamn mycelium block in the shopping district with beautifully tailored grass and making trees whose flowers are diamonds. He's also got his own megabase going on. For once Scar has so much to do it's even enough for Scar's ambitions, which have never been small.

He does not come when Grian calls.

Grian is Not Happy.

This is the point where Grian starts a steadily more unhinged campaign of leaving Scar invitations. He makes little tailor's dummies of himself and delivers them to Scar's house. He sets up a tea party of three grians in a secret space under Scar's mayoral throne. He hangs himself in effigy on the tip of Scar's megadrill build. Normal behavior.

And then when Scar still doesn't notice, he puts a tiny bit of mycelium back on one of the streets of the shopping district.

This starts… THE MYCELIUM WARS

Scar attempts to contain the growing mycelium patch with warning tape.

Grian spreads more mushroom spores.

Scar brings in his allies to help contain the growing mushroom patches.

Grian digs out an underground rebel HQ, recruits several rebels, and declares himself Motherspore.

Mayor Scar stares into a camera and uses his most velvety baritone to proclaim he will hunt down Grian and the mycelium resistance and bring them to justice.

Grian sets loose mushroom-spreading sheep.

Mayor Scar obsessively searches for his base.

Grian and Impulse build several decoy bases and trap them.

Mayor Scar employs Mumbo to strip-mine every block of the shopping district with redstone tunnel-borers.

Eventually Deputy Mayor Bdubs, having his own thing with rebel Etho, tricks all of the resistance into ender-pearling into jail.

Scar gets to threaten to pour lava on an imprisoned Grian for ten minutes straight and they’re both enjoying this so much.

Grian: Scar! SCAR! Scar Scar Scar no Scar no Scar no listen Scar

Scar: Yes?

Grian: …Let’s take this somewhere else.

They ‘take this’ to Scar’s beautifully-appointed mayoral office. Grian sits on the arm of his chair (I don’t know what to tell you, this is on-screen canon).

Grian: So I know how to end the war.

Grian: We have to play minigames and make personal bets.

Grian: And Scar, Scar, if you lose…

Scar: Yes?

Grian: … you have to help build my base.

Entire room: [stunned silence]

Etho: Is this what it was about the whole time, Grian?

So! That happened. And the thing is, they could both mentally pass off the area 77 general/hippie stuff as Just A Fun Bit That Got Very Intense.

They can't do this with the mayor/motherspore stuff. They are basically making out on Scar’s chair. The resistance have noticed. The mayoral staff have noticed. EVERYONE has noticed.

Scar is into it. Scar is going along with it. Scar knows he’d had a crush for a long time, and he isn't scared of swimming with a huge wave, never mind where it's going to break. Scar has always embraced the rush. With Grian, you never know what’s going to happen next.

Grian has always loved being around Scar because there’s so much going on that you don’t have to think. Grian doesn’t have to think until everything’s calmed down. It's not until now that he stops and realizes… could this be… something.

(Maybe it already is.)

And then, by whatever eldritch mechanic you personally favor:

3rd life begins.

HEAD-OVER-HEELS – Third Life

In the tiny claustrophobic stripped-bare world of Third Life, Grian makes a choice. Grian thinks, for once very, very clearly: what if it wasn't a bit? What if it was real. What if Grian took every explosive piece of who he was and handed it over to someone he's—okay, he'll admit it—someone he's been obsessed with for a long time. What if that heady sparkle he's been seeing in the corner of his vision is true. What happens if you grab it with both hands?

Scar—surprised, bemused, amazed but wrong-footed—almost doesn't know what to DO with this.

Scar is so used to Grian layering all his obsession behind a thick layer of irony and drama and second-guessing and schemes. ‘Sure we can make out but only if I'm trailing mushroom spores and you're wearing that sash.’ ‘I'm only here because Mumbo's not around.’ ‘It’s not a thing.’ ‘It's not real.’

But it is real.

And, for once, Scar hears a tiny alarm go off in his brain. Scar knows Grian better than anyone else does, by now, and even he doesn't know where this ends. Grian is a force of nature and Scar has never been his unfiltered target. But Grian's throwing himself into this, throwing himself at Scar. And Scar always says 'yes.' 'Yes, and.' 'Yes, let's'. Scar never wants less of Grian. Scar has always taken what he can get.

But with that warning bell, Scar does try to keep that slight layer of dramatic distance, even in this new world where you can die and not come back, even if they don't know if they'll get out of this alive. Scar doesn't fully buy into Grian's second-in-command-devotion, he forces a space for Grian to still be the Grian he knows, some kind of safety vent (‘here's a bee on a lead’). And it could be a lot of reasons, but part of it is…Grian's head-over-heels, for once, and Scar has the unfamiliar feeling of needing to be the one to look where they're going.

Because where they're going is: the last two, all their friends dead, not knowing if there's any way to survive but knowing their friends haven't come back, and at that point Scar takes off the very last of his brakes and the very last of his reservations and says:

For everything you've done for me you can kill me.

(I want this. I want it to be you.)

This breaks Grian absolutely and completely.

And not broken in the fun way! Grian is too far in. Grian let go of Mumbo, who was safe because Mumbo never let it get too far, and he took a risk on Scar, and now Grian is discovering that he didn’t even know what risk meant. Grian is in emotional pain he never suspected existed. Grian has let himself put all his gambling chips on someone who wasn't SAFE and he has lost.

Grian has LOST SCAR and he has LOST HIMSELF and he has FOUND OUT HE CAN BE HURT and he is never going to be the fucking same again.

Scar is in the pond with Grian’s sword at his unresisting neck. And Scar is going to die, and Scar (damn him damn him) has turned it into: he's going to die for Grian. Now Grian is hurting, he's complicit, it turns out grief is an inevitable part of love and beauty, this is all it's taken for Grian's worldview to fall apart in pieces he can't pick up, and Grian has no defenses against pain so there's obviously no way to cope except to beat Scar to death in a cactus ring and jump off a cliff.

AFTERMATH – Season 8

They wake up in Hermitcraft.

They wake up in Hermitcraft! Scar is delighted to find out they just reincarnate, after all that!

Sure, they've all got some lingering trauma but Scar has never let that stop him from doing anything. Scar thought that whole thing went well! He just about dares to think...romantic...? Maybe...?

Grian is Normal to him.

Grian is so fucking normal. it's like. s6 normal.

Scar is. kind of. confused.

Grian is NOT acting like someone he had a romantic death match with.

(Grian is falling apart, but if there's one thing Grian has proved in his building it’s that he’s SO. fucking. good. at facades.)

(Don't go round the back.)

Neither of them are ready for the death game to repeat.

DIVORCE (Traumatic) – Last Life, Season 8

Second death game. Grian deals with his trauma super well by isolating Scar, stealing all his friends, tricking a life out of him, dropping his horse in lava, forcing him into an extortion death loop, then abandoning him and—just as a bonus—murdering Mumbo as well.

This time it’s Scar who comes back falling apart.

A theory that seems plausible: Scar’s old friend Cub picks him up, puts him back together, gets him on his feet. What we do know is that Cub moves in next to Boatem, where Scar is still living with Grian, and incidentally builds an enormous dripstone megabiome that is coincidentally very hostile and might murder you upon landing if you're someone who flies a lot, or happens to be a bird.

There’s a hole with an endless dark void between Scar and Grian’s Boatem bases. They built it together. It’s around this time they both keep repeatedly falling in it.

DIVORCE (But When It Was Good It Was So Good) – Season 8, Double Life

Then the moon gets big. Gets close. Gravity breaks down and that should be the end, should be a way out of this terrible spiral they're in, surely they're better without each other—

Grian turns up at Scar's base and says: Scar. Build us an escape pod.

—and Scar does.

They go out together. Both of them can feel the pull back into each other’s orbit but they’ll die if they acknowledge it. At the end of it all, the void, the protective suits, the unbearable gravity of falling into space together, of holding each other until another uncertain end. They're nowhere but they're in it together.

Is this a good time for another death game? Of course. How much worse can it get.

Double Life, and this time Scar keeps his distance. My soulmate is this allay! My soulmate is my cat! I don’t need a soulmate. Oh—it’s Grian? This whole time? Hahaha. How funny.

Grian: Soo… do you want to base together?

Scar: Do we have to?

Grian: It…might be nice…?

Scar is wary.

He has been burned.

But the pull is still there. The pull is always there. You can’t forget Grian, but you can blunt the edge of him on your skin. Scar is here to take care of these cat-pandas. Grian can do what he likes.

Cheated of Scar’s full attention, Grian tries to tempt BigB into a pale imitation of the Scarian folie à deux (BigB is a genuinely nice man who does not deserve this).

The rest of the server turn red, one by one. Grian and Scar are the last greens. BigB is audibly nervous when Grian proposes a red-green alliance, even though BigB is the red, he has the power. But Grian can’t escape the rest of the server, and the red hunt begins.

Grian and Scar, hunted—trapped at the top of flaming towers, jumping from heights, chased down like foxes at bay, crammed into boltholes with their hands over each other’s mouths, Grian shrieks and laughs and falls back on Scar and Scar catches him and they’re both as alive and elated as they’ve ever been. Scar dies once to Ren and BigB’s zombies and Grian murders both BigB and Ren in revenge (BigB was right to be nervous). Grian has another unhinged murder plan underway when he dies for the last time.

This whole time, Grian was hit in the face by remembering that when it's good, it's so good.

Scar isn’t surprised. Scar has known that forever.

Back in Hermitcraft, its not magically fixed. They’re not innocent any more. But every time Grian looks at Scar he remembers: when it’s good, it’s so good.

And Scar never forgot.

DIVORCE (We’re In Love And We’re Not Done Yet) – Season 9, Limited Life

By now we're into Season 9. They’re still alive. They always live, they always start again, and the other one is just there. Being, infuriatingly and magnetically, them.

Grian is thoroughly annoyed by Scar’s new allegiance to King Ren, but he keeps coming back to Scarland anyway. Scar, I made you an obstacle course. Scar, stand here and get squashed by this anvil. Scar if you don’t do something I’m going to start a resistance.

Grian pretends King Ren doesn’t exist and he has more important things to do, and pretends this so hard that he incidentally invents a mad science robot pulls them all through into the Empires dimension.

Scar, assuming Grian is doing his own thing, shacks up with Jimmy.

It takes Grian three weeks to notice and be shriekingly outraged.

Scar we’re doing a project. Scar you can’t spend all your time with Jimmy! Join my cult. Get in my shrinking machine. I made you an enchanted netherite bow. I need your allegiance. (Another real quote).

Scar teases Grian for weeks then instantly abandons Jimmy when the choice comes down to him or Grian.

Fourth death game—they’re used to this, now. Nothing too intense. Nothing too weird. Grian can’t help murdering Scar.

At this point, Scar is starting to read it as: I love you.

And that’s how we get to the current Scarian dynamic we know and love of you're the worst and I'm the worst and we've divorced a few time but we still like each other so fucking much.

It's been years. They've killed each other every possible way. These two characters are in love and they're not done yet.

[spring-lxcked]

thought abt the secret mini games in P.S and went crazy again

[dandylovesturtles]

Using a random number generator for the angst prompts: 20 Starved + 30 Dangerous Temperatures

... and Leo, of course.

OH GOD OK

uh so. I had an idea. and I decided to write it for this ask I got forever ago. And then, uh.

it really

really got out of hand.

This is a pretty dark fic (even for me) and at the current moment in time it is hurt/no comfort. I do intend to write a part 2, probably tomorrow, but as of the time I'm typing this author's note I've been writing for around 5+ hours straight and I need to take a break! So please, if you don't want to read all this without the comfort included, feel free to wait for the next part before reading! I'll link it and the end once it's posted.

Content warnings: Kidnapping, confinement, psychological torture, nonconsensual voyeurism (I guess this is the best way to put this; Leo isn't doing anything sexual but it's still violating), mild violence, HEAVY ANGST, Leo just having the shittiest time possible.

I HOPE?? YOU ENJOY??? hahahaha....

btw this is set between S2 and the movie (though tbh its canon compliance is... /waves hand)

-----

When Leo imagined himself getting captured by some kind of shady, quasi-governmental agency intent on imprisoning mutants, it was never anything like this.

When he let his mind go there, he always pictured that he would be strapped to a table. Maybe muzzled. That scientists would stand over him, scalpels and drills in hand, and start to take him apart. That they'd examine him piece by piece, and wouldn't give him any anesthesia while they did it.

But there is no table, no muzzle, no restraints at all. He's just in a room.

Well, a cell, technically - the steel door is locked, and there are no windows, no furniture but a bare cot in one corner and a lone toilet in another. But it doesn't really look like a cell. It looks like a room.

A very, very white room. White walls. White ceiling. White tiles (with white grout, even). The toilet is white, a roll of white toilet paper on the floor next to it. The only things that aren't white are the cot and the door and Leo himself.

They took his gear and his weapons, because of course they did. Since the door is steel, he already knows he's not breaking it down; he gives it a half-hearted slam anyway, just to say he tried. He should be able to just portal out, except he hasn't learned how to use his portals without his swords to channel his ninpo through, and there's nothing in here with him that he can use to make new ones.

So he's stuck. He's going to have to wait until someone opens that door for some reason. Or, of course, until his family swings by to pick him up. Though, if possible, he'd like to escape before that happens. The image in his mind, of sitting outside his cell and grinning at them as they arrive to rescue him, is too cool to pass up.

He's not sure how long it's been already. He knows that they knocked him out after ambushing him, and he doesn't know how long he was unconscious. The heavy molasses feel of his head and arms when he woke up suggests that he was drugged. It's wearing off now, though, which means he has a clear head to take in the all of nothing that's in the room with him.

He sits on the cot he woke up on and waits for something to happen.

There's no way for him to tell time, but he thinks it's an hour or so later when there's a sudden beep, and then the sound of a metal panel sliding up. It's a slot near the door that has just opened - inside the revealed alcove is a bottle of water.

He comes to it curiously, taking a long look around the bottle. The slot doesn't open straight through, and even if it did, it's not big enough for anything more than his arm or a foot to fit through. He thinks it must function like an airlock, or maybe they slid the bottle down from somewhere above - he feels around just in case, and finds that the slot is enclosed on all sides but his. Probably his airlock theory, then.

As soon as he removes the bottle, the panel slams shut again.

"You're really determined to keep me in here, huh?" he says to whatever hidden cameras are watching him. He carries the water bottle back to his cot, but doesn't open it, instead setting it down on the floor by the wall. The paranoid part of his brain, the one that doesn't miss a trick, is reminding him that drinking the water is probably a bad idea. Who knows what they might have put in it?

He sits on the cot for awhile longer. Still, nothing happens.

"I'm getting pretty bored in here," he says for the audience that must be somewhere. "Come on, you have a one of a kind turtle in here, and you don't even want to talk to me?"

Time passes, slow and quiet. Leo goes through periods where his anxiety spikes and he starts to wonder if he's been abandoned by whoever brought him here, before the boredom eventually numbs the anxiety back out. Another bottle of water is eventually delivered, and this one he keeps in his hands after retrieving it. It's completely unlabeled, not even a "Use by" date printed on the bottle itself, so it doesn't provide much mental stimulation. He spins the bottle to make little whirlpools inside, because it's something to do.

He's trying to make the fastest whirlpool he can when he hears a sudden click, different from the beep of the water bottle hole, and he looks up just in time to see a large section of the wall in front of him turn black, and then light up to show the room beyond his cell.

He jolts, setting the bottle aside. He knew they must be watching him, but somehow he didn't catch that part of the wall was a whole window.

His audience isn't very large - five people, unless there are others he can't see. Two wear lab coats, two wear fatigues... but the one who comes to stand directly in front of the window is wearing a black suit, with steel rimmed glasses. He leans forward, and speaks into a small microphone.

"Inmate 24365," says the suited man. "I am Agent Bishop, of the Earth Protection Force. My subordinates tell me that you can speak and understand the English language. Is this correct?"

"Qué?" Leo asks.

Bishop does not look amused. "Inmate 24365," he says, "you have two options. You can cooperate with me, answer my questions, and we will make your stay here more comfortable. Do not cooperate, and we will make your stay uncomfortable. Do you understand?"

Leo pretends to hem and haw over this. "How comfortable are we talkin'?"

"I'm sure you would like some dinner."

"You know, I'm not really hungry." He says it to be difficult, but it's actually true - the uncertainty of the situation has put his stomach in too many knots to want to eat anything. "Maybe if you offer me some comic books? Or a TV?

To Bishop's credit, his face doesn't so much as twitch. He keeps his steely eyes locked on Leo. "Answer our questions, and you will receive food. Do you understand?"

Leo stays noncommittal. "What are the questions?"

He's expecting Bishop to ask about his family. He's not expecting what comes next.

"How many gateways are there between New York City and the hidden yokai enclave?" he asks. "How are these gateways accessed? What kind of defensive capabilities do the yokai have?"

Leo keeps the surprise off his face. Bishop thinks he's a yokai.

This is, overall, a good development. Bishop might not know about Leo's family, then, or at least not know that they live on the surface. This means the Earth Protection Force likely isn't pursuing his brothers, which means they will be safe until they can help Leo get out of here.

He doesn't let the relief show through, either. Bishop doesn't know anything, and now Leo just has to ride out the next few hours until the calvary arrives.

"You know," he says, "I think I'm good with my current levels of comfort."

If Bishop is mad or frustrated or dismayed by this choice, he doesn't show it. His expression stays stony as he stares in at Leo, sizing him up.

"Very well," he says after a few more seconds. "I will see you tomorrow, then."

The window goes dark, and then turns stark white to match the walls. Leo wants to go over and tap at it, see if it feels different when he touches it, but knowing that Bishop is surely still there, watching him, keeps him rooted to the cot.

He goes back to making whirlpools with the bottle. If they aren't going to entertain him, he isn't going to entertain them, either.

-----

Another water bottle comes some time after his talk with Bishop. He finally opens this one and takes a cautious sip. Nothing tastes off or strange, so he drinks more. They don't want to feed him, but they're fine keeping him hydrated. No reason to stay thirsty, then.

He wishes the water calmed the anxiety still roiling in his stomach, but if anything it just makes him feel even more energized. He bounces his foot and surveys his room again, looking for any weak spots or access points. He can't see anything, though, other than the areas where he knows the water bottle hole and window are; even the vents that relentlessly blow cold air into the room are well hidden.

Knowing that there are people standing just outside his cell watching him, like some kind of zoo animal, puts him on edge. The window is so big that he's pretty sure the only blind spots are either directly underneath it or right by the door on the same wall. After debating it, he leaves his cot and sits on the floor underneath the window, surveying the room from a different angle now and still coming up empty. At least they're going to have a harder time staring at him.

His eyes catch on the toilet in the corner, directly across from the window. It's not in the blind spot, and realizing this makes his insides lurch uncomfortably - hopefully he has a chance to bust out before using it becomes necessary.

Though, he's not sure when that chance is going to come. If they have a slot to pass him water, they could use that to pass him food, too, so it's unlikely that anyone is going to open the door unless they need to take him out.

So maybe his fantasy of being outside when his brothers arrive isn't going to happen. Well, that's okay; he'll just be sure to make some other part of their escape totally rad. That will make up for the embarrassment of getting kidnapped a block from Run of the Mill.

(Seriously, some kind of ninja he is, to let a bunch of human soldiers sneak up on him.)

He drains the water bottle, then starts to roll it back and forth across the floor, like a cat batting at a toy. Leo's not sure what's worse right now: the worry or the boredom. There's nothing to look at and no one to talk to, just an empty room with him and his water bottles.

He's too keyed up to sleep, and the fluorescent lights are still on, anyway. He has no way of telling what time it is, so maybe it just isn't that late yet. And even sitting here, in the blind spot, the idea of closing his eyes while people are watching makes unease crawl up his spine. Staying awake is the easy choice. He'll sleep after he's out of here.

So he sits under the window and rolls his bottle back and forth, back and forth, with only the sound of plastic on tile to keep his thoughts company.

-----

The first three water bottles came pretty regularly, but now there is a very long stretch where nothing is delivered. Leo is starting to think maybe it really is night now. They don't turn off the lights in his cell, though, and he has no controls to do it himself. At least it helps with the whole "staying awake" thing.

Just in case they've decided to suspend his water privileges along with the food, he holds off drinking any more for now.

Speaking of food, his appetite has finally decided to return. His stomach starts to growl at him after several hours (he thinks) of sitting in the floor, an annoying emptiness in his stomach. Knowing there's no food accessible just makes the hunger sharper, but he puts it out of his mind the best he can with nothing else to focus on. He can eat once he's free.

Which should be soon. Seriously, his brothers have to be on their way by now, right?

He's pretty sure it's been the better part of a day, if not a whole day, since he was kidnapped. And, okay, he's willing to give them some leeway; it's understandable if they got a late start. He did storm out of the lair after his latest fight with Raph, and no one ever came to check on him when he did that. Understandably, he thinks, because who wants to be around Bad Mood Leo? Not even Leo wants to be around Bad Mood Leo!

But he'd already turned back into Good Mood Leo by the time he left Hueso's, so surely they knew it had been more than enough time. They would have noticed when he didn't come home. They would have realized something happened. They would be looking for him.

And if they're looking for him, they'll find him! Obviously.

His stomach growls again, and Leo leans his head back against the wall behind him. Maybe he shouldn't think of being at Hueso's. Now he just wants pizza. Pepperoni and mushroom, maybe, or Hawaiian. Mix it up a little with the barbeque chicken.

Another growl. He groans out loud.

He stays awake, twisting and crinkling the empty bottle in his hands, until another full one finally arrives.

-----

No chance to escape comes before using the toilet is necessary.

He tried to hold out, he really did, but he ended up drinking more water to stave off the growing hunger, and it's lowkey cold in here, which doesn't help. Still, the issue of the window sends an uneasy shiver up his spine, doubting that any people outside will feel the need to turn away and give him some privacy. Maybe he should have gone while he suspected it was nighttime.

(Maybe he shouldn't assume they ever aren't watching him.)

He stands up and walks over to the cot, giving it a light nudge with his foot. In a stroke of luck, it isn't bolted to the floor, and it's light enough that he can lift it. The black mesh it's made of is tightly woven, enough that not much is visible through it. It will have to do.

He picks it up and drags it over in front of the toilet, propping it up on its legs so it makes a small wall between himself and the window. It's hardly ideal, but the semblance of privacy makes him relax somewhat.

(He can't think about how there are surely cameras in the room watching him from all angles, making his attempt at a barrier moot. He knows better than anyone that sometimes pleasant lies are necessary.)

After he does his business, he leaves the cot propped where it is; it's not like he's sleeping on it. There's no sink for him to wash his hands, but he's never been the strictest about it, anyway (much to Donnie's disgust). He returns to his spot under the window, squeezing the water bottle to the rhythm of the first song that comes to mind.

Only two verses and a bridge later, the window above his head turns black, then goes clear. Thinking that Bishop might have been watching him just now makes a cold, slimy feeling roll down his spine. Creepy!

"Inmate 24365," comes Bishop's voice through the unseen speaker. "Stand."

Leo doesn't. He stays right where he is, under the window.

Bishop waits only a few seconds. Then Leo hears him say, "Temperature down two degrees."

He gets up at that, turning and leaning his arm against the window. It strangely doesn't feel like glass, even though it must be. "It's already cold enough in here," he says. He wonders how they can hear him, when he doesn't see a microphone on his side.

"You were told your conditions would only be made comfortable after you answer our questions," Bishop informs him. "The same as before: how many gateways are there between New York City and the hidden yokai enclave? How are these gateways-"

"How about you answer my questions first," Leo interjects. "You keep calling me "inmate," but I haven't been charged with anything. Pretty sure you can't detain me without cause."

"The EPF is authorized to detain non-human inmates for as long as deemed necessary for the security of the United States," says Bishop smoothly. "Probable cause doctrine does not apply in this case."

"That's gotta be unconstitutional."

"The constitution does not recognize the rights of yokai. You have no right to counsel, no right to a speedy trial, and no right to protections from cruel and unusual punishments." Bishop's stare is colder than the temperature in the room. "But I am not an unfair man. Answer my questions, and I will provide you with food and clothing."

Leo tosses a glance over his shoulder. "How about a private bathroom?"

Bishop's expression stays ever in place, unimpressed and stoic. "Food and clothing," he repeats.

Leo gives his head a shake. "Then nope," he says, popping the "p". "I plead the fifth."

"As I have already explained, the Bill of Rights does not apply to you."

"That's such crap." Leo bangs his fist on the window. "You can't just keep me here forever for no reason!"

"I do have reasons." Bishop leans closer to the window, his eyes narrowing. "Let's try a different question. What is your relation to Baron Draxum?"

The surprise is fast and sharp, but Leo just manages to keep it from showing on his face. "Who?" he asks innocently, even as the panic sets into his chest. If they know about Draxum, what else do they know?

"We know you are acquainted with him," says Bishop. "What is the nature of your relationship?"

Leo knows they aren't bluffing - why would they bring up that very specific name otherwise? There's no lie he can tell that won't reveal something.

So he doesn't say anything. Instead, he turns his back to the window and sits down, staring resolutely at the opposite wall.

Bishop clicks his tongue. "Very well," he says. "I am a patient man. I can wait." Then, more muffled, like he's facing away from the microphone, Leo hears him say, "Temperature down two degrees."

The window goes dark, then turns back to white. Leo doesn't move for a long time.

-----

The third water bottle arrives, so he guesses that's the end of day two.

He's shaking as he gets up to retrieve it, adding it to his growing water bottle hoard. He's gone through three and a half by now, but he's trying not to drink them too fast.

As promised, no food is delivered, and his stomach growls and rumbles in protest. The water helps, but only slightly. He needs to eat.

He also needs to sleep.

The panicked adrenaline spikes that have kept him awake this long are starting to die down, with more and more long stretches of exhaustion between them. The shaking is near constant, bringing with it the weird jittery feeling he gets when his insomnia gets particularly bad.

The window is still unnerving him. The idea of sleeping while they're watching him feels staggeringly unsafe.

But he doesn't think he can hold out now until his family gets here. Sure, they're probably getting close (they have to be getting close), but they're sure taking their sweet time. And he's just so tired.

After a long internal debate, he lays down on the cold tile floor. It's not at all comfortable, but somehow he doubts the cot would be any better. Besides, even if he moves the cot under the window, he thinks it would be easier to see him if he uses it. So on the floor it is.

He presses as close to the wall as he can, curling up into a ball for warmth. He wishes he had a blanket.

He wishes he was home.

He squeezes his eyes shut tight and forces back the sudden wave of overwhelming homesickness. There's no reason to feel this way. It's only been two days! What is he, a baby?

It's fine. It's all fine. They're definitely on his trail now. Raph is leading the team. Donnie is using some kind of invention to blah blah blah nerd stuff. Mikey is razzing his tazz. April is using her investigative journalism skills to find clues.

They're on their way. He just has to hold out a little longer. He can do this.

He sleeps, and in his dreams, something grabs him tight and drags him down and down and down where he can't escape.

-----

The same routine plays out over the next two days.

Leo gets two water bottles delivered, spaced, if he had to guess, about five hours apart. Bishop comes to visit him some time after the second bottle. Leo refuses to answer his questions. Bishop turns the temperature down and then leaves. A few hours later his last water bottle comes. Then nothing for the whole night.

They still don't turn off his lights, but exhaustion is starting to win over the brightness.

More than a few times, Leo tries to summon a portal on his own, without his swords. If his family is going to take their sweet time in coming, he might as well try to help them out. He tries to summon his ninpo (without glowing), tries to feel the tug inside of him that he always does when he teleports, tries to envision the place he wants to go and tunnel through space to get there.

Nothing. Always nothing.

(Donnie can make his constructs independent of his bo staff. Raph can send his projections away from his sai. Mikey's learning to use mystic powers without his nunchucks. So why does Leo need his katana? Why is he the only one this useless?)

It probably doesn't help that he's so damn hungry. It's a constant companion now, a low and hollow ache that chooses inconvenient times to turn into white hot stabs of urgency, into seizing cramps that steal his breath. The water only helps so much - it keeps him alive but doesn't satisfy, doesn't soothe. In some ways it just makes the feeling worse.

And he's always shaking, too, but he doesn't know if that's the hunger or the cold.

Maybe the cold wouldn't bother him so much if it were at least still. But the vents blow fresh air inside relentlessly, and no matter where he goes he can't seem to get out of the direct stream. The cold wind batters his tired body, and there's places his skin is starting to turn dry and flaky. His nose won't stop running, and he's allowed himself a small section of his one roll of toilet paper to blow it, already stiff and congealed and disgusting.

It's miserable.

And there's still nothing to do.

He stacks a pyramid out of his empty water bottles, knocks it down, then stacks it up again. He tries to come up with some new and exciting ways to demolish it, but it's only new and exciting for so long.

He spends a few hours of day three singing karaoke as obnoxiously as possible. He hopes everyone outside enjoys the performance.

He recounts every issue of Jupiter Jim he knows to himself, then the plot of every movie. Then he goes through Lou Jitsu films, then anything else he can think of. That eats up a good chunk of day four.

By the time he gets his first water bottle of day five, he's out of ideas to entertain himself. He's never been good at this. He doesn't know how introverts like Donnie can go multiple days without talking to someone.

But when Bishop comes back with his daily offer of conversation, Leo once again impolitely declines.

-----

Something new happens on night five.

It's been a long time since the last water bottle. Leo has been trying to sleep, but it's not coming easy; he's exhausted, but the floor is so cold and he's so sore from staying on it night after night. Not to mention, his nightmares have been getting worse, and he isn't eager to return to them.

Add on the hunger, and sleep is elusive.

Suddenly, there's the telltale shadow of the window above him turning dark - this time, though, it doesn't light up as much as normal. Confused and curious, Leo sits up and takes a peek.

The room beyond is dim, only the glow of a green EXIT sign and a small desk lamp lighting the space. But it's enough for Leo to see a man standing there, looking inside. It's not Bishop - in fact, he doesn't recognize this person at all. They're wearing fatigues, but it's not anyone he's seen in the room during Bishop's normal interrogations.

The man catches sight of Leo, and the grinning leer on his face makes Leo regret looking.

He beckons for Leo to stand up. Warily, Leo does, unable to help but keep his arms folded tight over his chest. Not for the first time, he wishes he had some clothes - his gear, at the very least. Anything to not feel quite so exposed.

The man reaches down and picks something up, holding it aloft for Leo's inspection. "Want a sandwich?" he asks into the microphone.

The sandwich looks like white bread and bologna. No cheese, no other toppings that Leo can spot. Maybe some mustard, if anything. Overall, the most boring possible sandwich he could have been offered.

Leo's mouth is watering.

He has to swallow hard before answering. He doesn't trust this. Even if his stomach is slamming up and down at the promise of food, food, food.

"I'm not hungry," he lies.

The man laughs. It's not a kind sound. "Sure you ain't," he says. "You spend every night curled up on the floor like the dumb animal you are. Can you even eat this?" He waves the sandwich for emphasis.

Leo doesn't answer. He takes a step back from the window, like that will put any kind of distance between them. Like that will save him.

The man watches him with a sleezy grin. He waves the sandwich again.

"You want this," he says.

Leo shakes his head.

"You really sure?"

Leo shudders. Stands tall. Nods.

The man watches him for a long, long moment. Leo fights the urge to hide.

Finally, with a shrug, the man says, "Suit yourself."

Then he starts eating the sandwich. Right where Leo can watch.

Leo's stomach growls, loud and angry in his ears, and he has to physically hold himself back from crumpling.

After several bites, the man suddenly reaches out and taps the window, indicating the cot stood up in front of the toilet.

"That," he says, giving another tap for emphasis, "doesn't do shit."

Leo wants to crawl out of his own skin.

The need to hide is suddenly too great. He rushes to the cot, grabbing it and dragging it back to the blind spot under the window. He sets it down on all four legs, so it's as close to the floor as possible.

Then he lies down on his belly and wriggles underneath. It's a tight squeeze, and the cot ends up pushed up by his shell, suspended in the air, but he doesn't care.

He curls up in his pleasant lie of privacy and bites his hand to keep from screaming himself hoarse.

After an eternity, the window above him turns white again. It doesn't matter. Leo knows he's still there. Still watching.

-----

"You look tired," Bishop greets him. Leo answers with a dead-eyed stare.

"I keep telling you, if you want your conditions to improve, all you have to do is answer my questions."

Leo says nothing. He just stares, arms wrapped tight around himself to try and keep his body heat in.

"How many gateways are there between New York City and the hidden yokai enclave? How are these gateways accessed?"

For a moment, Leo considers just... telling him.

His family doesn't live in the Hidden City. The yokai have never exactly greeted them with open arms. What does he care if these military guys go after them? At least then, maybe he can finally eat something.

That's not what a hero does, Leo! echoes Mind Raph disapprovingly. Innocent people will get hurt!

Right. He's a hero. And heroes don't give into the demands of shitty guys like Bishop.

Leo swallows hard. "No comment."

Bishop's face changes ever so slightly: his brow creases. Leo wonders if that's good or bad for him.

"You understand that Baron Draxum is a known threat, don't you?" he asks. "We are aware of his plans to commit mass murder on the human population. We also know that he has been dormant for some time, and we need information on what he is planning."

Leo thinks of Barry's ambitions to be recognized as the best lunchperson in all of America and can't help but laugh. It comes out cracked and wheezing.

Bishop's furrow gets deeper. "Do you think this is funny?"

"Little bit," says Leo.

Bishop has a chasm to rival Raph's now. Leo knows he shouldn't, but he grins. It's his one moment of triumph - only he can be this aggravating.

And then Bishop says, "Temperature down seven degrees," and that wipes the smile right off Leo's face.

-----

The plastic of the water bottles is soft and pliable and feels weirdly good under Leo's teeth.

He chews the top of the bottle, gnawing at it until it's completely flattened out, pockmarked with little tiny indents from his incisors. It's not eating - it won't fill his belly or ease the persistent hunger pains. But something about the motion is soothing. The place-bo effect.

Pla-ce-bo, corrects Donnie's voice in his mind, sounding testy.

Where are you? Leo thinks back.

There's no answer.

He's gnawed his way through four water bottles. There's eighteen in total now, two and a half still full of water. He thought about using one to wash up a bit, but decided against it in the end. He knows he stinks, but the last thing he wants right now is to be wet. Not when he's starting to see his breath.

Oh well. It's not like he has anywhere to be.

He turns his attentions to the lids next. These are harder and thus tougher to chew. Still, if Leo uses his molars, he can eventually crack the lip, and then bend the plastic in and in, chewing until he ends up with a flat disc.

It's just small enough that Leo could swallow it, if he wanted to.

He thinks he remembers watching some kind of wildlife documentary. Or maybe he didn't watch it himself, but Mikey told him about it. Or maybe April? He doesn't know. His thoughts swim in and out and get lost on the way.

Point is. Sea turtles in the wild die all the time because of plastic in the water. They cut open their stomachs and find trash inside.

Well, Leo is a turtle in captivity. Maybe that means he's immune. Maybe he could swallow this plastic lid, and then he'd finally feel full and the pain pain pain of his empty stomach would go away.

He does not swallow the plastic lid. But it's more tempting than he'd like to admit.

It's going to be okay. When his family gets him out of here, they'll have a big pizza to celebrate. Maybe he can even talk them into letting him have the last slice.

It has to be any moment now, right? It's been a week. They have to be closing in. Any moment now, the door will open, and there they'll be to take him home.

The air conditioning blows relentlessly against his skin. He sneezes, then rubs the snot on his arm. He's given up on the tissue paper.

It'll be over soon. It has to be. Just hang in there, Leon, just a little longer.

He picks up another bottle and starts chewing.

-----

He's playing a mindless little game with his flattened bottle lids the next time Bishop comes.

"I'm surprised you still have any energy at all," says Bishop, and Leo wants to punch him.

(Really, he wants to do more than that. But those kinds of thoughts always make him feel weird and bad, so he pushes them away.)

"You should have learned by now," he says, pushing to his feet and trying not to show how badly he's trembling, "you can't keep me down."

"This is all unnecessary," says Bishop. "I'll feed you as soon as you answer my questions."

Leo barks out a laugh. "Sure you will."

"I will," says Bishop. He turns and says over his shoulder, "Bring it here."

One of the men in fatigues steps forward and hands a tray with a covered plate over to Bishop. Bishop uncovers the tray and holds it where Leo can see.

Baked chicken, broccoli with cheese, mashed potatoes.

Leo's stomach twists and cramps so painfully he has to bend at the hips and clutch his midriff.

"This is yours, as soon as you answer my questions."

Leo pointedly keeps from looking at the food. He shakes his head. He can't. He can't.

"Such persistence." Bishop's voice is scolding now. "You understand that you are a known accomplice to a terrorist, don't you? But if you become a cooperating witness, you will be granted some leniency."

Leo barks a laugh, lifting his eyes to look at Bishop's face, and pointedly not the food. "What's the point?" he asks. "If I'm not... protected by the constitution, or whatever. Are you going to let me go?"

"No," says Bishop. "But as I have told you, your conditions will become more comfortable." He waves the tray of food.

Leo stares at him, before a manic smile splits his face.

"You... stupid bastard. I can't even answer your questions." He slams a shaking hand against his plastron. "I'm not even a yokai! Do you get that? I'm not a yokai!"

Bishop looks skeptical. "Obviously you are."

"I'm not!" Leo rages. "I'm a mutant! I'm from New York! I don't even live in the Hidden City!"

Bishop's eyes flash. "I see," he says, "so you do know of it."

Leo falters, his body going slack.

What an obvious, stupid mistake.

(Some face-man he is.)

It takes Leo a long moment to answer. Bishop stays right where he is, holding the food so tantalizingly close and yet still out of reach.

"...I don't know about the gateways," he says finally. "I don't know about their defensive capabilities. I don't know what Baron Draxum is planning."

"Your lies are obvious," says Bishop. "You really don't want this? It's your last chance today."

Leo stares at the food. His mouth is watering so hard it might start to drip. Would it really be so bad to answer? They don't live in the Hidden City. And Draxum dropped him off a roof.

Draxum is trying to change, says Mind Raph. You see what these guys are like. You can't turn the yokai over to them. They'll hurt them!

What about me? he asks. Is it okay if I get hurt?

You're a hero, Leo, says Mind Raph. You can deal with it for a little longer. It's just a room. Just a little cold. Just some hunger.

He's a hero. He can deal with it. He can. He can.

He'll make them proud. Show them they can trust him.

It takes everything he has, but he shakes his head.

Bishop tuts. Then he throws the entire plate in the trash.

"Tomorrow, then," he says. Then the window is gone.

Leo collapses on his cot and tries not to cry.

-----

After his third water bottle on day eight, one of the fluorescent lights over his head flickers and then dies out.

It's not surprising, since they keep them running twenty-four seven. The blessedly dimmed lighting is actually nice, for once. Leo thinks maybe he could get some sleep, if the gnawing hunger and the constant shivers don't keep him awake.

He's just closed his eyes and snuggled up under his cot when it occurs to him: they may come in to fix it. If keeping the lights on day and night is part of their plan to torture him, to keep him exhausted and anxious and on edge, then they have to.

Which means his chance is finally here.

He has to be careful about this. He has to be ready to move, but he can't let them know he's ready to move. He has to let them think he's too weak, too exhausted, to make an escape attempt.

(He can't let himself think that, though. He can't give up before he tries.)

So he stays under his cot, but subtly shifts it so it won't restrict his movement. He has to be ready to burst out as soon as he gets a chance. Get past whoever comes in, then get out the door. It's after the last water bottle, so it's nighttime. There will be fewer people. He can do this. He can do this.

Find his swords. Make a portal. Get out.

Just as he was thinking, after a long time has passed, there is a loud warning beep, different from the water bottle beep. An automated voice says from somewhere unseen, "Inmates clear the door. Security personnel entering. Stay still and you will not be harmed."

Then the door slides open, and someone comes in.

It's a man wearing fatigues. Leo thinks this is the one who "offered" him a sandwich the other day. He's holding some kind of gun with a long barrel. He does a sweep of the room with his eyes, coming to rest on Leo under his cot. He gives Leo the same leering grin, and waves the barrel of the gun in his direction.

"Now you behave, and we'll get along just fine," he says.

He steps to the side, and another man enters, this one wearing the kind of jumpsuit Leo sees janitors in on TV. He's carrying a stepladder in one hand and a long tube in the other. Is that what fluorescent lights look like? Leo didn't know.

The man walks to the middle of the room and sets up his stepladder. Then he walks up and pulls off the light casing. When he unhooks the old bulb, it causes the other bulb to flicker, just for a few moments.

Leo explodes out from under the cot, grabbing the man in fatigues by the legs and yanking as hard as he can. The man yelps in surprise, and Leo hears the sound of the gun going off in a random direction. The janitor shouts and drops the light bulb - the sound of shattering glass joins the cacophony.

Leo jumps to his feet and runs out the door they had been too stupid to close, sprinting toward the EXIT sign. He's exhausted and shaky but he's coursing with adrenaline, and he leans on it hard to keep him moving. Don't stop, don't stop, get out of here. He'll figure out what to do next once he's free.

Past the exit sign there's a large open room with desks and computer monitors. Most of them are off, but one lingering woman in a lab coat, seated at her desk, screams when she sees Leo dash through the middle of the office space.

"Security!" she screams into a device on her chest. "Inmate is escaping! Inmate is escaping!"

Leo doesn't have time to shut her up, he just keeps moving. He pushes through the next door and arrives in a hallway; he only has time to glance one way and then the other before scrambling to the left, hoping it was a good choice.

He rounds a corner and sees another green EXIT sign up ahead. It's not where he meant to go - he meant to find where they're keeping his swords first. But he hears shouting behind him and doesn't stop. Fine, so no portals - he'll figure out something else once he's away from here.

He throws himself forward into the exit door, which leads him into yet another hallway. Another long sprint, with shouting and slamming doors at his heels, and then finally, finally, a third EXIT sign, and he crashes outside.

Where there's snow on the ground, snow on the trees.

It steals his breath away. There shouldn't be snow. It's May.

Where is he?

He takes a breath of air so cold it seizes his lungs, then takes a step forward. He'll worry about that-

BANG!

A piercing pain in his shoulder nearly sends him toppling over. Leo shouts, grasping for the wound and feeling something sticking out of his skin. He grabs it and yanks, pulling it free.

It's a dart.

Damn it, he thinks, before his vision goes woozy, and he collapses into the snow.

-----

"Are you proud of your little escape attempt?" comes Bishop's voice.

Leo looks up from his cot. Bishop has to get so close to the window to see him that his nose is pressed flat against it. It should be hilarious, but Leo doesn't really have the energy to laugh. Or to do much of anything.

He's hungry. He's tired. He's cold. He's still sluggish from the drugs.

And they threw away all his water bottles. Fuckers.

Leo rolls over on the cot and covers his ears.

"What a childish response," says Bishop, and that's funny, too, because Leo literally is a child. Or a teenager, anyway. He doesn't feel like it will help him much to point that out, though.

"All you have to do is answer my questions, and all this will be fixed."

That's the funniest thing of all. The idea that he spills his guts and Bishop treats him to a five course meal to make up for all the pain up till now. Hilarious.

He says nothing.

Bishop sighs.

"You are likely still affected by the tranquilizing agent. I'll return tomorrow."

Before he leaves, he says, "Temperature down five degrees."

-----

The same man is back that night. He opens the window and looks down at Leo with the same leering smile. Leo can't even take satisfaction in the bandage on the side of his head.

"Neat little trick you had yesterday," he says. "Almost got me fired."

Leo wishes it had gotten him fired. But he clearly has no luck in this situation.

"You know, I respect the attempt. And you probably would have gotten farther with a little food in your belly." The man reaches down, then retrieves a sandwich, as mouth-wateringly unappetizing as the last time. "You sure you don't want this?"

And Leo knows he shouldn't trust this guy. Leo knows he should say no.

But he's just...

so...

hungry.

So he gets up. And he turns to the window. On shaking limbs that can barely hold him upright anymore. With a body that is laced with pain and aches and cramps.

And he nods.

The man's smile gets wider. "What do you say?" he asks, in the sing-song tone of a parent scolding a child.

It makes a sick nausea rise in Leo's throat. But he wants the sandwich.

"Please," he gasps out.

"Mmm... not good enough." The man waves the sandwich. "You want this? You beg for it."

Leo stares, eyes wide. But the sandwich... the sandwich...

He gets down on his knees. Feels a searing flush of humiliation. His stomach is rolling and gurgling and cramping with pain, a hollow, empty chasm inside him desperate to be filled.

He lowers his head.

"Please," he says. "I... I want the sandwich. I'm... begging you, please."

The man laughs, loud and long. When Leo finally finds it in him to raise his eyes, the sandwich is already half eaten.

"Hey, good job," says the man, licking a bit of mustard off his thumb. "That was real convincin'."

And then he takes another bite.

Just like that, Leo forgets about the pain, the aches, the cold, the hunger. All that's left is pure, white hot, screaming rage.

Leo lunges at the window and slams his fist into it so hard it cracks. Not enough to break the glass. Not enough to free him. But enough that the man startles and steps back.

And Leo starts to laugh. High and manic and unhinged even to his own ears.

"I'll kill you," he says, and his voice sounds almost joking, and yet- "I'll kill you. You're dead. You're dead, as soon as I get out of here, you're dead, I'll kill you, I'LL KILL YOU!"

The man has dropped the rest of his sandwich. He fumbles for his gun, left somewhere on a table to the side. For one satisfying moment, Leo sees a flash of genuine fear on the man's face.

"Shit," he says, his voice far away the further he gets from the microphone. "Pretty scary, frogboy."

Then he slams a button, and the window goes black, and Leo gets a glimpse of his own reflection.

His face is gaunt and drawn. His eyes are ringed by deep circles, so dark they look like bruises. His body is shaking like a leaf.

And his stripes...

His stripes are lit up like when he uses his ninpo, but they aren't their usual Neon Leon bright.

They're almost black.

Leo gasps and stumbles back just as the window goes white. The full body quakes he feels now aren't from the cold or the hunger or the exhaustion.

He turns and sinks onto the cot. Puts his face in his hands and tries to breathe. Tries to will his ninpo to stop rolling and snapping and to go back to normal.

This isn't what he wants. This isn't him.

This place is breaking him. He's letting it break him.

He pulls his legs up onto the cot and buries his face in his knees. Wraps his arms around them and rocks gently, the way Donnie used to do when things got overwhelming. Maybe he understands that better, now.

This isn't him. He's Leonardo, Neon Leon, the face-man, the jokester! The one who's always ready with a quip and a laugh. The one who can do anything!

Except portal out of his room. Except escape from this building. Except resist begging for a sandwich like he's a dog.

Leo's breath hitches, and for once he doesn't stop himself. He knows the guy outside is probably watching. He knows there are cameras recording this. He hates giving them the satisfaction.

But he's tired, and hungry, and he...

He wants to go home.

He cries, silently, until he's completely rung out.

-----

Maybe they aren't coming.

That's the thought that pops into his head, just a bit after the first water bottle of the day.

He knew they would have gotten a late start, because he stormed out. And he knew it would take them awhile to figure out who took him - he hadn't heard of the EPF before, so why would they? And he knew it would take them time to figure out where he had been taken, which must have been pretty far out if it's snowing outside. But the EPF got him here within a night, he's pretty sure, so unless they have a super fast jet, he must still be on the continent somewhere.

So... so surely they must have figured it out by now, right? Raph is leading the team. Donnie is doing science things. Mikey is razzing his tazz. April is using her investigative skills.

Unless they aren't coming.

Maybe... maybe it's true. Why would they want him back, after all? Leo took Raph's leader position, and since then all he'd managed to do was piss Raph off. Mikey and Donnie hadn't been happy about it, either, and he'd noticed that they'd been avoiding him more and more. April claimed she wasn't taking sides, but she always seemed to be on Raph's anyway. And Dad... well, he was probably disappointed that he made Leo leader only for him to do nothing and then get himself kidnapped.

He doesn't bring anything to the team. He doesn't bring anything to the family. And no one likes his jokes.

So. Maybe they just... aren't looking. Maybe they aren't going to come.

Maybe he's held out this long for no reason. Maybe he's been cold and starving for no reason at all.

Maybe it's time to give up.

---

Don't give up, says a new voice in his head.

You are not alone.

-----

He has no energy left to stand when Bishop comes. The man looks down at him, lips pressed into a thin line.

"You don't look well," he observes.

No shit, Leo wants to say.

"This has gone on long enough. Answer my questions, and we will provide you with food, clothing, and medical care."

The list is getting longer. Leo's fuzzy eyes stare up at Bishop. Medical care. Does he need that?

"You already know what I want to know." Bishop has a furrow between his eyebrows now. "Will you talk to me?"

He could. He could do it. He could finally have some relief from all the pain. All the hunger. All the cold.

But they might hurt the yokai in the Hidden City.

They might hurt Draxum.

They might hurt his family.

And maybe, if nothing else... if Leo could just keep his mouth shut, just this once...

Maybe that would finally make Raph, Dad, and everyone proud of him.

Maybe they'd finally trust him.

Maybe, at least, he can have that much.

Leo shakes his head.

Bishop scowls.

"Temperature down ten degrees."

-----

Leo isn't shivering anymore. That's probably a bad sign.

He can still see his breath, each time he exhales. It rises like smoke, before disappearing into the air.

He doesn't have any energy left, not even to chew on his new water bottles. He hasn't even collected the last two, and they sit crowded together in the slot, untouched.

He kind of wishes they had just dissected him from the beginning. It would have been faster. Freezing to death, he's decided, is a real zero out of ten. Starving to death isn't any better. No stars.

Even though the damn lights are still on, he feels extremely sleepy. It's probably the cold. He wonders what will happen if he brumates. He's never done it before, not like his little cousins, and he has no idea if it's even safe.

Probably not, given he has no calorie reserves left. All it means is he won't be drinking water, either.

But he's so sleepy.

It's going to be time soon for Bishop to come back. Leo doesn't know what the point is anymore. Maybe he'll just sleep through it. Yeah, that would really make him mad. And making Bishop mad is all he has at this point.

And he'll get to sleep. It's a win-win.

So thinking, Leo rolls himself over onto his belly. Then, one by one, he pulls his limbs into his shell.

He doesn't do this much anymore, not since he started growing. His body just doesn't seem to fit his shell like it should - a side effect of the mutation, probably. It's not really comfortable to be inside for long.

But Leo is sleepy. And his shell feels like the best place to be.

So he pulls in his legs, then his arms, and then, finally, his head.

It's not any warmer in here. But at least it's dark.

At least he's not shivering.

Leo sighs, content, and closes his eyes, and drifts to sleep.

-----

(Outside his cell, there's a bang, and shouting, and a gunshot.

The sound is muffled, and Leo sleeps on.)

-----

Part 1 (here) | Part 2 | Part 3 | Part 4 Part A |

[ohnoitstbskyen]

One of the more interesting theories I've seen is "The Arcane is a metaphor for The Narrative, and Act 3 is about the characters breaking away from the path the Arcane set for them". (Admittedly, there's still a good chance that they're going to become something close to their League selves, but for the sake of the fic, "League Canon" is different from "The Predetermined Path The Arcane Has In Mind".)

I mean, that's definitely A Way™ to try and thematically integrate something like Ekko's time travel into the story... but I don't think they should or will do that, because it kinda flies in the face of everything Arcane has otherwise been about.

Arcane has been about how class and systems of power push people to act in certain ways, it has been about privilege and deprivation, it has been about how cycles of violence and trauma forcibly replicate themselves under oppression, and it has been about the ways in which all of those things can push people to become the worst versions of themselves with the absolute best of intentions.

See Silco and Vander both acting out of love for their cities to try and make the best future they can for their children and fellow citizens, and the consequences of both their methods. See Viktor and Jayce trying their damndest to invent something that will make the world better, vs the pain and devastation their Hextech causes in the world.

Season 2 goes HARD on this too - Caitlyn being enabled and very actively pushed by her class position to turn her grief and trauma into authoritarian oppression, Vi letting guilt and obligation push her into becoming a part of it "for the greater good" because she's desperately trying to live up to what Vander taught her by example.

And saying "ah, no wait actually, it is The Narrative Of The Fiction that is causing this to happen to us!" very badly undercuts all of that. The whole narrative up until this point has been about how bad systems make monsters out of good people, and to pull back the curtain, Wizard of Oz style, and find that it was just A Guy doing it, some wilful entity imposing a narrative on the world... that's a very different kind of story.

At worst, it would turn Arcane into metanarrative wank - a corporation jerking itself off over its IPs and cinematic universe, or writers jerking themselves off over how important and powerful writing is, why, it is the most powerful force in the entire world of our fiction! (looking at you, Game of Thrones Season 8).

From the very start, what I have feared the most is that Riot would turn Arcane into a story not about its characters, but a story about the League of Legends™ family of exciting and highly engaging intellectual properties which we are excited to leverage in a cross-brand synergistic market activation. A story whose ultimate point is "buy League of Legends skins and get excited for Phase 2 of the League of Legends Cinematic Universe!"

So yeah... I would like The Arcane to be a thing inside of its own universe and bound by its rules, not a thing which represents the commercial concerns of the world we live in. I hope you are not correct about that interpretation.

[toaarcan]

What is the Default Toa Form?

So, theory time.

It's a common fandom headcanon that the natural state of all Toa is the Toa Metru build. The reasons for this are varied (but if I'm honest seem mostly rooted in the fandom's love affair with the build that came to an end during the TTV Hagah Contest rather than any actual lore), but I personally disagree with this.

So I'm going to run through the various Toa builds in roughly chronological order (with one exception) and determine whether I think they're likely to be the true default form of a Toa.

1) Helryx

Well, right away, here's one that probably isn't.

Helryx is the oldest build lore-wise, newest IRL. She's also kind of a "Meta Build", aiming to look like a forerunner to the Toa Mata build we'll discuss shortly, not by directly evoking the way the Mata were styled (I would argue that a lot of the Mata's identifying hallmarks aren't present in her), but by being primarily composed of parts from 2001 and earlier.

However... this isn't what Helryx always looked like. Nor is the art that actually represents the canonised design.

The intent of the contest was to create Helryx as she appears in the present, after thousands of years of wear, tear and repair. In the text, she's referred to as disturbingly frail and alien-looking compared to what Takanuva expects a Toa to look like.

Even if she once looked like a default Toa, she doesn't now.

Orde, the only other known prototype Toa, never received a canon design (for what it's worth, I won't be putting a lot of weight on the DuckBricks Fanon Contest designs, since they're, well, fanon. So Bukkey's Orde won't be factored in here, besides me noting that he has a more Mata-esque body than Helryx does).

However, another popular headcanon is that Krakua represents another example of this generation of Toa, as Helryx would've been the basis for Krakua's transformation.

Perhaps this is what Helryx would've lookedd like when she was healthy and built?

Well, as much as I like that headcanon, and will continue to use it in fanon, probably not. Based on the evidence we have of Toa transformations, both in-story through Takanuva and the Toa Metru, the transformation is pretty much 1-to-1 with current forms. The Metru all get Lhikan's build exactly, except for specifically their height. Likewise, Takanuva's build is identical to Gali Nuva's, despite him not being a Toa Nuva. He didn't resemble base Gali, he resembled her current form.

If Krakua was transformed in Helryx's image, he'd likely be just as small, spindly, and hunched-over as she is.

For now, Krakua remains a weird outlier.

2) Mata

While not as common a choice as the Toa Metru build, the Mata build has also been suggested a few times as "Base Toa," largely because it's the original. It's relatively simple, and depicting any given Toa as a Mata build is easy enough and looks good.

(I honestly prefer it over the Metru build. It's easier to put proper hips, knees and elbows on a Mata than it is to un-fuck a Metru's shoulders and neck)

However, the Toa Mata are actually pretty much unique entities within the Matoran Universe, unlike any Toa before or after them. They are the only Toa who aren't transformed from Matoran or built by the Great Beings, instead being created by Artakha.

As a result of that unique method of creation, it's entirely reasonable to suggest that the Toa Mata look different to every other Toa in the world besides Takanuva, who was transformed in their image. They're the only canonical Toa whose bodies directly resemble the Great Spirit Robot itself, use these specific colour schemes, and have its specific design language in their construction.

3) Hagah/Mangai/Metru

By far the most popular contender for this title, but one I don't personally agree with.

We don't know whether the Toa Hagah were built or transformed, but we know they were assembled from across the Matoran universe and given new armour upon recruitment into Teridax's team, and we have no idea what they looked like before they were given this armour, beyond Bomonga presumably already having his huge limbs. Additionally, the Metru were all transformed based on Lhikan, so it's him I'll be focusing on mostly.

Lhikan was transformed and was trained at a Toa Fortress around 6000 years ago. We don't know what the other Mangai looked like (though they're popularly headcanoned as being Metru too, no canon look for them was ever settled).

However, my stance is that this design is not the default (Lhikan would've been transformed in someone's image), but rather a cultural one, a sort of 'uniform' armour style adopted by Toa during the height of their power, when the Toa Fortresses were active and Toa were commonly trained by other Toa. The image of a Toa would've become a consistent thing, and caused almost all transformed Toa to adopt it for a time, making it almost a new default, but not the original, until the Toa genocide and the subspecies becoming largely extinct caused things to diverge again.

This is, to be specific, not a counter-theory I'm proposing to the "Default Metru" theory in and of itself, but rather a part of a wider theory, explaining the commonality of the Metru build when I think that the last spot on our list is the real default.

And that leaves us with only one option.

4) Inika/Mahri/Cordak/Nuva 2.0/Glatorian

So yes, I think this is the default Toa build.

That might strike you as weird, considering that the Inika are only transformed at the beginning of the Ignition Arc, right before the end of the story in terms of the MU's timescale, and the Nuva adopt this design even later.

But let's consider a few points, shall we?

First off, the Toa Inika are the first and only Toa team we see who are transformed into their Toa forms, and do not have their appearance influenced by previous Toa. And while there's some weirdness with their heads and powers, their bodies seem pretty normal, and remain as such after their Inika weirdness is removed by the Ignika.

Secondly, we know the Great Beings made the Matoran based on the Agori, and the Toa based on the Glatorian. The first Matoran, the default form of a Matoran as it were, are the Av-Matoran, who use the same build as the Agori exactly. Should it not stand to reason that a default Toa uses the same build as the Glatorian?

Additionally, like the Glatorian, the Inika build and its derivatives have by far the most variation from individual to individual. True, we've never seen a Toa as weird as Strakk, but that doesn't mean that none existed.

Thirdly, there's one more character we haven't discussed thus far.

And this, then, is my smoking gun.

Lesovikk was a member of the first Toa Team, and one would assume based on that information that he's a purpose-built Toa. Well, he isn't. He's transformed. Given how rushed the Great Beings were at the end of the GSR project, I wager they found it easier to make a small number of Toa and then have them immediately transfer power to Matoran than it was to make thousands of Toa from the off.

Lesovikk may well be the first Toa transformed, and if he was, then his transformation would either be free of influence from anyone, or in the direct image of whomever transformed him, who could only be a default, purpose-built Toa.

"But wait!" I hear some of you typing already. "Lesovikk is a mutant, we have no idea what his true form looks like!"

Or do we?

Let's look at another character who was affected by Pit Mutagen in 2007, shall we?

This is Defilak, a Matoran of Mahri Nui. Like all the residents of Mahri Nui, he once lived on the Southern Continent, and later Voya Nui, after an ill-fated trip to Karzahni.

He used to be a weird little gremlin Matoran like his brethren from 2006, and transformed into the form above after being immersed in Pit Mutagen.

But here's the twist: Rather than simply mutating them directly from their twisted post-rebuild forms, the Mutagen actually reverted the Matoran of Mahri Nui to their original forms first, and only then started to mutate them.

This is Defilak's default form. This is what he always looked like, just with added weapons.

With that in mind, I think it's safe to say that Lesovikk is likely in the same boat: Reverted to his original form before the mutations started.

With the exception of the tube-like gill, I think it's more than probable that Lesovikk is mostly-normal still, and as such, is a very early Toa with a Mahri build.

With that in mind, I conclude that the default design for a Toa is a 2006-2009 build, with Helryx being the product of damage and repair, the Metru/Mangai/Hagah being a cultural design, the Mata being Artakha designs, and Krakua being a weird outlier.

[reflections-in-a-critical-eye]

i for once want to get the opinion of a "rational" jikooker who knows how to take a step back and take certain things for what they are and i wanna know your opinion or interpretation of jikook in chap2 and them not meeting and also that conversation they had in the car about that please.

And you thought I'm that rational person? Funny.

You know, there's something I always disliked about being in this fandom space. I mean, there's plenty of other things, don't get me wrong, but this one in particular really irks me. It's the need for approval, for confirmation of one's thoughts. There's a severe lack of independent thought. It might be hidden under apparent strong opinions, but when you look at how those opinions are spread to anon messaging to bloggers everyday, that's a sign that the complete opposite happens.

Jikook as a kpop ship always has to be questioned. At this point, I think it's part of its narrative as a ship. But what's curious (and stupid) is that the hardest line of questioning comes from the ones who consider themselves interested/curious. But make no mistake, this is not done for the sake of not becoming delusional and discard any rational thought. It happens because of the need for approval.

You sent me this ask because you hope for me to agree with your own thoughts about jikook and what that conversation in the car means. Not for them actually, but for you. And you're not the only person. A sure sign of fandom insanity is debating for over 2 weeks now a conversation that is not only heavily editated, it is mediated as well. It takes place in the context of a show for fans in which participants are two people who will never reveal everything about their lives. And on top of that, there's an intentional need to ignore that people can speak in hyperbole, that people can ommit or say one thing that actually means more or another that only the other person is capable of understanding the nuances of that.

Communication is complex. We do know that because we engage with it everyday. Except we forget all that the moment we have to talk about this specific ship. We forget a lot of things about human behavior, relationships, etc. It is an intentional act. So we start writing fanfictions. We start making relationship timelines. We start taking about temporary or definitive break ups of a ship that hasn't even been confirmed as a couple. At this point, shippers operate into this alternative universe sphere, canon adjacent but instead of doing it on ao3, they use their blogs and anon messages for that. But hey, fanfics on ao3 are a lot of the times the work of talented writers, while 500-1000 words essays on tumblr are simply a complete waste of time after the first paragraph.

Is this what you would consider a rational perspective? Or should I start writing down a timeline of all the times in which JM and JK have met in "Chapter 2" up until NY in July? (As if in reality their lives are actually separated that clearly, as if a break in band work completely defines their personal lives, jesus christ!). So, should I note down all the public events that they've been to? And to draw a conclusion from it to prove or disprove that the amount of times they've seen each other is reflective or not of what they said in the car when they left for their trip? Of course, we should ignore that there's an entire life outside of what we see.

And that's the thing, you know? We all supposedly agree that they actually share little of their lives with their fans, but practically? The fandom doesn't really give a shit. Because of the classic parasocial relationship we have developed that makes us believe we know everything there is to know.

What we are allowed to see and what we hear from whispers here and there should allow us to realize that no theory over a supposed relationship is better than the other. Believing they are just friends, that they have broken up, that they are fwb and so on is in no way more rational that believing they are together.

What does this mean? If none of us are wiser? It means we have a choice. Some are choosing to be losers or little bitches crying in anon asks about their "insecurities" over a ship. Some are choosing to look at this ship as a duo that includes two people who have really good chemistry and who match each other's freak.

I've always been in the latter category, I thought that was obvious and I've said it before. If one day Jimin makes a public statement that he's marrying the love of his life, a sweet girl that is also the mother of his 5 secret children, then so be it. And if one day, Jungkook shows up one day after he decided to run away and join a bike gang where he met his boyfriend, then so be it. If somehow that next day, a jikook clip would turn up on my tl in which Jimin is brushing his teeth while straddling Jungkook, my reaction would be "well, jikook fuck. Often". You know why? Because for me, the public life of stars and what they choose to share is entertainment. A travel show, a wlive, concerts, these are all forms of entertainment. I do not consume my entertainment by being a loser on the internet, pondering if my assessment over two people might be fucking is real or not or is approved by other people.

[raven-at-the-writing-desk]

You know what I realized. We saw what would have happened if Vil successfully poisoned Neige in Chapter 5. What if for future updates we see a future where Leona sanded Ruggie and trampled Malleus and where Riddle actually killed Ace with the rose trees? Jamil and Azul wouldn’t have blood on their hands though they’d just be ruling over Scarabia and a magic and skill thief.

THE WAY MY JAW DROPPED WHEN I SAW THAT NEIGE HAD FLATLINED IN THAT UPDATE 😭 That was honestly one of the scariest parts of book 7 for me so far. Knowing that Vil was driven into a corner to the point where he fully intended to KILL his rival to come out on top with a cheap, hollow victory... It's so gut-wrenching (and incredibly delicious at the same time) 💦

I'm so anxious about what kinds of scenes we'll see for the other OB boys now... Azul may not have gone for anyone's jugular, but Leona and Riddle may have some dark implications or casualties by way of Malleus/Ruggie and Ace, respectively. (The only "good" thing about that is that if Malleus is "dead" in Leona's dream, then that means Malleus can't be physically present as an obstacle to the crew). Also?????? The dorm leaders seem to be woken last within their dorm, meaning by the time we reach Riddle, we'll have Ace "awake" and recruited to our group. KINDA FUCKED THINKING ABOUT HOW ACE MIGHT BE WATCHING AN ALTERNATE VERSION OF HIMSELF DYING IN THE ROSE GARDEN... Leona killing Ruggie is so twisted too????? That would surely fuck with Leona's mental health.... There's always been fan theories about how Leona would have reacted if he actually did sand Ruggie (I've speculated about the idea myself), so it would be so cool to see this realized in the darkest depths of Leona's dream. I'd love to see how he canonically handles it.

I think there's also potential that Jamil might kill Kalim? Since he has a line where he says as long as Kalim as "alive", he will never know peace. I don't know if Jamil had intent to do away with Kalim in book 4, but this could be very real in the darkest parts of his own dream.

[ilikekidsshows]

I get that alot of people go with the approach of "every Miraculous character is deeply screwed by the writers, so it's a writing problem" but at this point this feels like deflecting from the real problem

No shit stories and their characters are written by writers, but so many blogs I see now that go with that approach imo keep on dismissing the point of the problems people are pissed about because "well the characters aren't real, so I'm superior for saying it's the writers fault"

Guys, we KNOW they are fictional characters, you're not unique. But what is happening is that I get less and less out of the analysis posts from these blogs because they're beating around the damn bush especially when it comes to Marinette.

Yes, every character is screwed by the writing but Marinette has been retooled into the self-serving center of the universe who gets by though damn technicalities. This writing pattern is 2 disastrous seasons in, SHE IS THE PROBLEM.

You can try and sugarcoat that however you like by saying that Marinette is a fictional character so its the writers fault, but that doesn't change that Marinette's CHARACTER & WRITING is still the source of all the problems and that stories are being told to get emotional reactions. That's the entire purpose of a story.

No, I don't think people are doing it right by approaching all of Miraculous on a mere meta level. That's not how a story is supposed to be read. The meta level is an additional one on top of the emotional one, not the "rational way" to consume media.

And imo the analysis blogs I see around so much deliver less and less analysis posts I can do anything with. They are so caught up in explaining that the characters aren't to blame but the writers that they sideline why people are feeling the way they do.

There is this persistent dissonance in their posts about how apparently no amount of bad writing can change a character when that's just... objectively incorrect. Marinette for example is SUPPOSED to be compassionate and a thoughtful hero and partner/ leader to Cat Noir. Marinette in Canon though by this point is straight up NOT anymore.

But in their posts it's basically said that if people say that, then that makes them irrational because on a meta level the execution and effect of the writing is apparently irrelevant. Distant meta is king and the only rational way to engage with this story.

And I just don't see the point in that.

The outcome and the emotional effect of the writing is what actually matters. Not the intention behind it (no wonder people are using that excuse to defend Marinette's character. It's another variant of "but she MEANT well"). If Marinette is by now a toxic and even abusive partner and leader to be suck with, then that's the fucking damage the writing did. And said damage is DONE. That's her character NOW. Talk about the theory behind it however you like, the character CONCEPT is not Canon compliant anymore, and nothing is gonna change that besides facing the deeply rooted damage that has been done, analysing those on an EMOTIONAL level so you can then course correct the CANON character through the necessary development into becoming what the character was initially supposed to be.

Call me a dick, but just saying "the characters aren't real" is not a productive way of going about this dumpster fire anymore.

---

Another thing to take into account about the “it’s just bad writing” approach is that, like, it’s not like the way Marinette herself is being written has changed that much. What changed is how the narrative and other characters react to her and her behavior. Marinette has always been self-important, self-serving and self-obsessed, but these used to be treated as character flaws, signs of her immaturity and naivete she’d need to grow out of. Now we’re being told she’s flawless, actually, and has never done anything wrong ever and none of her mistakes were her fault. 

Like, I’ve recently been familiarizing myself more with the “my dear diary” teen drama genre, and it really is more of a dramedy genre if anything. Most of these series will have a self-important, self-serving and self-obsessed protagonist and the entire narrative is filtered through their self-centered world-view, because we’re basically reading their diary where they vent about things that annoy or excite them. Now comes the kicker: the “comedy” of the dramedy comes from how comically over the top these protagonists are when they clearly and obviously misrepresent their lives and themselves to the audience. Miraculous is leaning very heavily into this downright selfish protagonist archetype, but actually wants you to agree with the protagonist when you can see, with your own eyes, because this is a different medium, that the world isn’t nearly as unfair to our protagonist as she claims.

Here’s another kicker: if you aren’t laughing at the joke or projecting yourself onto the protagonist, you’re most likely gonna hate the protagonist of most “my dear diary” books. They tend to be the most opinion-splitting characters in their own fandoms, with readers either loving them or outright despising them.

Dismissing these kinds of fandom reactions only when they veer into the negative direction showcases the real motivation of the “it’s all just the writing” crowd. I need to dissociate from the show’s story in order to discuss why Marinette is still so beloved by the fandom, because I just can’t feel that way about her anymore. Similarly, the people dissociating from the story in order to explain why fans are disappointed and outraged by the story, can’t see anything worth getting upset about in the show. They think it’s all okay. They’re not approaching the show purely logically, they are still emotionally invested, they still like the show. Of course the seemingly logical approach to fandom unrest seems to just be defending Marinette and the show, because it is.

It’s basically a way to retreat from the criticism. Like, the accusations of Marinette being a stalker used to be easily sidelined with “it’s just a joke you don’t like” until they made it a sign of canonical mental instability. It was a way to say: "this is a silly thing to be upset about". Now we’re sidelining the abuse apologia with “it’s just bad writing, that’s not what Marinette’s character is”. What these people are actually saying is: “she’s made up, so my made up version of Marinette in my head didn’t do that.” Like, when you have to deny canon exists, your analysis isn’t analysis anymore; it’s headcanons at the very least, completely made up at most.

[i-heart-hxh]

Hey! This is purely me and my morbid curiosity asking, but you mentioned you buy in to the pregnancy stone oops baby Gon origin story more than an actual mother. Can you elaborate, even if it falls with what others may have already brought up? I'd love to get your take! (also, I sent a review of your chapter 4 hxhbb fic, but I think it might've been eaten!)

Hi!

So, I do buy into it, somewhat! I think, for the time being, it's the best theory we have on Gon's parentage. There are a few interesting details related to it.

First off, Togashi included this woman with Ging in some of his early HxH concept drawings, from November 1997:

People have speculated that the woman next to Ging might be Gon's mother, however there isn't actually conclusive evidence of this--it's just a theory. It could also be an early design concept for Mito, Menchi, or one of the other female characters from the series, as the drawing isn't labeled with a name or description like some of the others. Or, she could be a scrapped concept even if she was intended at the time to be Gon's mother, as clearly this isn't finalized in any way.

You can read about this drawing a bit more here!

However, of course within the series itself we have no info on who Gon's mother might be, and Togashi did bother to include the Pregnancy Stone card:

Now, an interesting connection with this is that Togashi is known to have read the BL manga Patalliro!, as he based Hiei's hair off one of the characters, Scunky:

(From a doujinshi Togashi released, Yoshirin de Pon!)

There is also an unconfirmed but very reasonable theory that Killua may have been based in part of the character Maraich from Patalliro!, as the basis of both characters is similar and we know for a fact from the above image Togashi has read Patalliro!.

Now, how does this connect to the Pregnancy Stone theory? Well, Patalliro! also has mpreg as part of its storyline (with biologically male Maraich getting pregnant twice through unexplained means, with one of these pregnancies leading to a son), and considering Togashi may have used other elements from Patalliro! as inspiration... You can see where I'm going with this. I do think it's interesting he put the Pregnancy Stone card in the series to begin with, and there's also the Panda Maid card ("excellent at taking care of human children"), and Ging has used a panda plush as a substitute for himself in the Election arc. Coincidence? Hmmm...

Image taken from this post, explaining more about the Pregnancy Stone theory.

My personal feelings now that I've laid all this info out are basically... I've talked a lot about how intentional Togashi's storytelling is and how much attention he pays to things, so I think he planted this knowing people would consider it a possibility, at the very least. We don't have any other theories about Gon's mom that have this much to go off of. It's possible he will reveal more info eventually and either make this more likely or explain Gon's origin in some other, totally different way, but for now I think this is compelling--there are enough pieces that it is a legitimate possibility.

I'm not someone who is interested in mpreg (or any kind of preg, for that matter, LOL), so I don't spend a lot of time thinking about this whole situation or the mechanics behind it, but I do think it would be pretty hilarious if this does canonically end up being Gon's origin story after all. Just such a wild way for Gon to come into existence. It'll be interesting to see if we ever get answers with regards to who/where Gon came from, whether it's by Pregnancy Stone or not.

It's a fun topic because it seems so goofy and farfetched initially, but the more you look at it, the more it's like, "Actually..." 🤔

(And thanks again for the review, my apologies that it took me a while to reply!)

[caesarflickermans]

hmm sometimes I think us thg fans have a tendency to glorify Ms Suzanne Collins in ways she doesn't really deserve credit.

As much as it hurts me to say this, but she has gone out of her way to not state Katniss' race, to leave it ambiguous both in the books and interviews. And I think that the narrative about how her mean editors or scholastic keep her from telling us the truth is just digging our heads in the conspiracy sand. Her trilogy is about just war theory, even if I—and many others—read it as a (post-)colonial story. Lucy Gray Baird had several Romani elements to her character that Collins, despite her influence within Lionsgate at that point, either didn't recognise nor fought for in a movie adaptation. SOTR is not secretly about propaganda around Palestine—there's no way she'd have written a book within that time span—but more likely about the shifting overturn window in the United States.

My point isn't to doom the author, but much rather to recognise that the canon story doesn't align with many of the leftist interpretations out there. I don't love The Hunger Games any less for it, it's simply that the story is a flawed one, as every story is! However, by putting Collins on such a pedestal, we pretend our interpretation was always her intention, and that takes away from its shortcomings as well as being ignorant to the author's lens.

[maddy-k-reads-all-day]

I'm starting to agree a bit with people's interpretation of Wooly being that he tries to stay on script. In "Play My Way" (which I'm 99% sure is canon since it's an official Amanda 2 song and listed in the Amanda 2 game credits) Wooly's verse goes "Now watch us play our part, now watch us dance and sing, don't let it break your heart just play along and don't-" (before getting cut off by Amanda). So I do think he tries to stay on script a bit.

Though I don't think it's out of malicious intent. I think Wooly is just more avoidant about everything. Like, he doesn't like to think much about their situation since, to be fair, it's pretty upsetting.

Eventually, I'll have a full Amanda and Wooly analysis complete with quotes and clips but for now I'll just share the gist of this personal theory I'm working on. Basically, I think a big part of this has to do with memories. I don't think Amanda and Wooly remember everything from before, and it's possible in the beginning they remembered nothing at all.

Spoilers ahead:

For one thing, in the first game, Amanda only reacts to the name "Sam" in the context of the father chicken. In the second game she reacts to it a lot more and seems to know what happened to him, so I think it's safe to say she remembers that much now. I think the first game was Amanda slowly remembering more and more and trying to prompt us to go off script so we could jog her memory a bit more.

I don't even think she remembers everything in the second game. It's possible there is still more she doesn't recall, but at this point, it seems like she doesn't want to talk about it. Even when Wooly wasn't around, if we mentioned Hameln or the butcher, she immediately shuts down. She's telling us pretty clearly that she wants out, though.

Which is why I found it interesting in the librarian tape when Kate couldn't even confirm if Amanda wanted out of the tapes. She was certain it was Rebecca, but she couldn't tell where she was coming from. I think Kate started the process of Amanda getting her memories back, or maybe she sped it up by mentioning names and things that Rebecca would know, jogging Amanda's memory over time just like we did.

But here's the thing, all of this probably jogged Wooly's memory too.

I see it as a "would you rather be told an inconvenient truth or a comforting lie" situation. Amanda wants the truth, but Wooly would rather live a lie.

I mean, the truth is clearly something that is painful, sad, and scary. Once Amanda learns it, she says in the Goodnight tape that she tries not to think about it. But Amanda knew these memories were upsetting and wanted them back anyway. She doesn't seem to regret knowing the truth. But I think Wooly would've rathered all this stay forgotten. Sad and scary things make him uncomfortable, as we learn in the "when you feel bad" tape when you answer "tragedy" or "horror". I think he tries to avoid them in general.

Another thing, Amanda wants us to know what happened to her. That's abundantly clear in the second game. Personally, I think she was the one who helped us find the secret tapes. She sprinkled little hints throughout the tapes to let us. She might not have known excatly what was on those tapes, but she clearly knows that they have something to do with what happened to her. There could've been some research on Wooly too, but we just never found it. I mean, Amanda doesn't excatly like Wooly and she's kinda desperate for us to know the truth about what happened to her so... she probably wouldn't be too eager to share about Wooly.

What I'm trying to say is: the reason we never learn about Wooly is because Wooly doesn't want to know the truth, and by extension has no interest in us finding it. My guess is that Wooly would much rather just forget and have things return to how they were in like the Hide and Seek Pilot, for instance.

Which, let me remind you is canon.

Basically, my guess is Wooly would rather things go back to how they were when they didn't remember. Staying on script and never questioning anything because the answers to those questions are painful.

Edit: I'd also like to mention that Sheep symbolizes FOLLOWERS. Something that fits Wooly to a T. He's not the "bad guy" he's simply the bystander, which doesn't make him a good person but it also doesn't make him a villain.

It's late, I'm tired idk if I'm even making sense. Had to rewrite half of this cuz it got deleted. Hope you enjoy nonetheless!

[yazthebookish]

This might be a bit long but the Gwynriel Reddit thread inspired me to let my thoughts flow about Gwyn and Azriel.

P.s. this will include some HOFAS spoilers.

I've said this before but SJM choosing to end Azriel's chapter with Gwyn is a choice. It's the beginnings and the endings of a chapter that authors tend to put a lot of thought into—so her ending the chapter which felt like her nudging readers' to Gwyn's direction is intentional.

Gwyn was not just a random addition, given their interactions throughout ACOSF their scene in the bonus chapter didn't feel out of place (even if readers' didn't expect to see her in it).

People try to invalidate the bonus chapter as much as they can but HOFAS had proved once again that they are important and canon (though I do think SJM and her publisher need to include these in the main books because they are crucial).

"You depend so much on a bonus chapter that a lot of readers don't have access to"

True but that doesn't mean the next book can't fill in the blanks because Azriel and Gwyn were already interacting in ACOSF, so having that romantic development in the next book (and the possible reveal that they're mates) + ON PAGE will still make it up for the readers that never read the bonus chapter. Like, CC4 will definitely bring up the fact that Ruhn and Lidia got married (despite it happening in a bonus).

I always considered the bonus chapter as a teaser for what will happen in the next book, Sarah confirmed she sprinkled little crumbs and I quote "I want to hear all your theories after you read the book and his [Azriel's] bonus scene, the crumbs have all been scattered, little bread crumbs everywhere" and it will keep readers guessing until the next book is out. So you won't know for sure how relevant or significant the bonus chapter is and the crumbs she scattered until you read the next book.

With that being said, Gwyn's cameo in the bonus chapter didn't come without some interesting clues: Azriel's shadows didn't warn him she was around, they were curious about her and she smiled at them, they danced and sang around her, Azriel revealed he sings because she asked, she thanked him with a smile and he felt settled even his shadows calmed.

We never saw his shadows react to anyone the way they did with Gwyn. They seem drawn to her, they danced, they sang, and while there are many theories about it but I absolutely do think if the shadows would be drawn to someone it would be Azriel's mate.

"Azriel and Gwyn had no romantic development and he didn't think about kissing her and all that"

But did every SJM couple start that way? No. And someone expressing the desire to kiss and hook up with someone is not always an indication of endgame (I can count multiple couples who kissed but weren't endgame).

The crumbs we had of them in ACOSF sets the groundwork for a romantic relationship to build in the next book—because who doesn't want to read about them both falling in love on page?

And yes, Sarah is capable of writing a love story from scratch in a single book (e.g., Tower of Dawn). Another example is how ACOMAF started with Feyre being in love with Tamlin and halfway through she started to really fall in love with Rhys.

The whole Azriel/Elain/Lucien triangle is messy as it is, so I don't think SJM would turn it into a square by inserting Gwyn. SJM could've chose not to give Gwyn and Azriel any ties in any way whether it was him rescuing her, him training the Valkyries, and again, including her in his own bonus chapter (hell even her boss:guardian Clotho made an appearance).

But she did and based on her pattern with her male love interests in particular, she doesn't really insert a new female or have females fight over the male love interest. I don't ever see Elain and Gwyn fight over Az, each might have an issue with Az on their own but do I see them argue with each other over Azriel? Absolutely not.

And if you look at the sequence of the scenes in his chapter, it gives a better idea of how it was planned:

1. Starts with Azriel reflecting on his loneliness while everyone left.

2. Elain shows up and they interact, Azriel gives her the necklace and they almost kiss.

3. Rhysand interferes and Az stops the kiss and tells Elain it was a mistake.

4. Az and Rhys argue and ends with Rhys ordering him to stay away from Elain and dismissing him.

5. Az leaves to the House of Wind wanting to work off the frustration but finds that Gwyn already occupied the training ring.

6. Gwyn and Az interact and he leaves the scene feeling settled down and his shadows calmed.

7. He wakes up, goes to the River House and finds Elain's necklace, he pockets it with the intention of returning it to the shop after the snowball fight.

8. Instead of the shop, he goes to the library to ask Clotho to give the gift to Gwyn and refuses to leave with it.

9. Going back and forth, Clotho eventually agrees and said she will tell Gwyn a friend gave it to her and she thanks Az for the joy it will bring to Gwyn.

10. Az leaves but the mention of Gwyn's joy sparked something in him that it brought a slight smile to his face, he buried the image in his chest where it glows quietly.

Both interactions with Elain and Rhys ended with him feeling miserable, but both interactions with Gwyn and Clotho ended with him feeling lighter and better—and to me that shows me how intentional SJM was with creating these parallels (including the shadows skittered back vs the shadows danced and sang).

Instead of Gwyn and Clotho we could've had Mor or Nesta or Amren, but SJM chose Gwyn and Clotho. Like, it could've ended after Rhys's argument but again, it's a writer's choice.

That's why no matter how many times I reread ACOSF my mind doesn't change much because SJM is not that subtle.

[doraambrose]

I see this alot in fanon and I think jason Todd's parents are completely misunderstood.

Disclaimer: I am not a victim of parents with drug abuse nor have a I ever done drugs. I sympathize and emphasize with people who struggle with drug abuse as there are many reasons to get into it and it's very hard on your body to get clean, I will link help organizations below. This does mean that I can be a little ignorant to the struggles so if I say anything offensive or wrong, please call me out and educate me so I don't make the same mistake

Jason's family has been retconned so many times, it's hard to keep it straight. But this is my headcannon based on what I've seen:

1. I feel like a lot of people write Willis Todd to be this awful abusive scumbag who hated his kid and his wife. If you are talking about young justice or arkhamverse, this canonically true, but I think that's far from the truth in the main universe, prime or whatever it's called. In batman 411, jason is clearly distraught by Willis' death and does try to avenge him by lashing out at Two face. We also can't forget about the incident with the penguin that led to the worst Bruce and jason characterization before gotham war. And that's because of one rhato issue where jason finally reads willis' letters (a truly heartbreaking issue: rhato rebirth 23)

I believe that Willis wasn't a bad dad. Not a good dad, but not an awful abusive one. I 100% believe he has never abused his family in this universe. And you know what, he wasn't a great person. He was a drug dealer and then a henchmen. But he CARED. He cared about his family. He tried so hard to provide for Catherine and Jason for their medical bills, food, shelter. He just had a poor upbringing and some real shit luck, trying to survive in poverty in Gotham city.

2. Catherine has been written in fanon to be a perfect caring mother who was nothing but a victim. I believe that she wasn't as good of a mother and a person as people make her out to be. And we haven't seen everything, but I believe this because she seems selfish. She seems to put herself and her drug addiction before her family, doesn't seem to even try to get clean or take care of jason or provide. Look at these panels:

She neglected Jason. He had to go out and put his life on the line day after day when it should've been the other way around. Jason was a kid. And don't get me wrong, she probably loved jason and had good intentions, no, she definitely loved him, or else jason wouldn't canonically think as highly of her and take care of her the way he did, but she wasn't perfect and I don't think she was as good of a mother as she's made out to be.

3. Canonically, jason seems to really care for Catherine, but not Willis. I have a theory about that. For why he thinks so highly of catherine: I've never had a parent who suffered from drug abuse, but I do have a parent who suffered from a lot of mental health issues like depression, diagnosed, and I feel like bpd, though it was never diagnosed. When things were bad, they were BAD. I witnessed a lot. But when things were good, things were REALLY GOOD. I feel like when Catherine would come off the drug haze, things were like that. She probably took care of him during those times and was loving and all that. Catherine is the one parent figure Jason has to hold onto (because of all the shit with Bruce, Sheila, etc.). He forcibly removes the bad shit she's done and hangs onto the good things she's done because she really did care about him and in life, it seems harder to hate your mom than your dad (from what i have heard when i did research on this from friends). I've done that for years, and idk if I'm explaining it right, but I think that's the best way I can. For why he doesn't love willis: I think up until he read the notes, he didn't have the full picture. From his perspective, willis leaves to do crime and then eventually gets caught and left forever. I think he blamed willis for making jason become "the man of the house" and have all this extra responsibility. Willis also strikes me as the type of parent who has trouble expressing feelings, so jason probably rarely, if ever, heard "I love you" from his dad. Willis also strikes me as the person who would believe that he needs to make his son stronger in order to survive, and there are a lot of parents like that, especially parents from a low income household or a history of poverty.

In conclusion, both parents were FAR from perfect parents, but they're not as evil or as innocent as people write them in fanon. They're just...people. fanon likes to write comic people as black or white, innocent or abusive, but in reality, It's a gray area. Willis had his flaws, I hc him as one of those old fashioned kind of dads who wants his son to be tough and strong and isn't good with sharing his feelings, but does truly care about his family and NEVER was abusive. Catherine was a mother who definitely cared about her family, but wasn't an innocent victim and had her own flaws.

Anyway, thank you for coming to my Ted talk