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ideas-on-paper · 6 months

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A hypothetical look at the childhoods of Carlo and Romeo

Despite Carlo and Romeo being two of the most central characters of Lies of P, what we know about their backstory is next to marginal. We know that the two of them went to school together and were best friends (perhaps even more than that), but their time in Monad Charity House is only presented in snippets and fragmented memories, and despite being highly significant, their characters remain elusive - like shadows cast over the entirety of the story, always present, never tangible.

Thus, many have filled the gaps left in their characterization with their own imagination. As for myself, I was curious what their early lives might have been like, before they met at Monad Charity House - and since it was the closest thing to the game's setting I could find, I did some research on Victorian children and their upbringing.

What I found out, however, left me absolutely shocked and made me keenly aware of just how awful Carlo and Romeo's childhood must have been, going by historic standards. As pretty much everything during the Victorian Era, a child's upbringing was very dependent on social class - however, no matter if you grew up in a rich or poor family, each came with its own kind of suffering, and regarding the question of "What were Carlo and Romeo's lives like before Monad Charity House?", the brief answer would be: "Probably not great."

As for the long answer... I should mention this is my own interpretation of Carlo and Romeo's backgrounds, and none of this is officially confirmed. However, given what we know about the two's origins, I consider it quite plausible, and what we can conclude from it might not only give us better insight into their personalities, but also some of the real-life background behind the original fairy tale of Pinocchio.

Just as a fair warning, though: This is about to get a little depressing.

[Spoilers for Lies of P!]

[CW: mentions of very questionable parenting methods, depression, suicidal ideation, poverty, parent death, child labor, abuse and exploitation of children]

Carlo

For this analysis, I'm going to assume that Carlo was born into a fairly well-off household. (The description of Carlo's portrait calls him "an aristocratic boy", and since Geppetto is the mastermind behind Krat's puppet technology, I assume he'd have his fair share of the profits.)

By the standard of their time, upper-class children were quite spoiled: Unlike their working-class peers, they never had to worry about who was going to provide food for them, and the horrors of child labor were never of any concern to them. You would think that being born into a rich family doesn't leave you a single thing to wish for - you'd have nice toys, fine clothes... and well, everything, except for parental affection.

For the most part of the day, upper-class children wouldn't even see their parents - they were only summoned to appear before them at a set hour of the day, and during these occasions, they had to address their fathers as "sir". Essentially, meeting your parents was more like an audience with a stranger, a rare privilege strictly regulated by formality. Children were expected to act prim and proper, only allowed to speak when spoken to, and thus unable to express their true feelings, thoughts, or opinions. Any show of affection was extremely rare - Winston Churchill (1874 - 1945) once remarked that he could "count the times he had been hugged by his mother" as a child.

The parents were more or less completely absent from their children's lives, and when there actually was interaction between them, the children were expected to unconditionally obey their parents. Osbert Sitwell (1892 - 1969) once commented: "Parents were aware that the child would be a nuisance and a whole bevy of servants, in addition to the complex guardianship of nursery and school rooms was necessary not so much to aid the infant as to screen him from his father or mother, except on some occasions as he could be used by them as adjuncts, toys or decorations." (Can you imagine? Geppetto taking Carlo to some big social event to show off his "perfect little son", and Carlo just standing there and silently enduring the ordeal, looking at his father all the while and wondering "Did he ever realize I'm not one of his puppets?")

So, by the standard of the time period Lies of P is set in, Geppetto neglecting his son isn't even anything terribly unusual - in fact, that's perfectly normal Victorian upper-class parent behavior.

Since they didn't take care of their children themselves, upper-class parents would hire a nanny to raise them. Nannies would be instructed what kind of behavior and morals the parents wanted instilled into their child, and they would be responsible for their education as well as teaching them manners, propriety, how to dress and so on. As such, the nanny effectively acted as a substitute for the parents - and given that maid puppets exist and Geppetto probably wouldn't let any strangers near Carlo, Carlo's nanny was most likely a puppet as well.

The daily life of upper-class children was based on strict routine - some like to say it operated with "clockwork regularity". Breakfast would be served at 8 o'clock in the morning, dinner at 12 o'clock, and tea at 6 o'clock.* Children would very seldom leave their room, except to take short walks in the park with their nanny. Education would mostly be given at home by a tutor, which included basic lessons like reading, writing, and arithmetic, but also "socially appropriate skills" like dancing and playing the piano. (Since we see a puppet giving piano lessons to a child in the intro, chances are Carlo's tutors were also puppets.)

*Eating times varied throughout the Victorian Era; a "dinner" might also be a meal eaten during midday.

The rest of the time, children would have nothing to do but to play with their toys (except on Sundays, which was forbidden). Rich families had the luxury of being able to afford the most elaborate of toys, such as automated dolls, clockwork trains, and jack-in-the-boxes, which were extremely popular among children. In fact, since clockmakers were also the ones to build toys, I could imagine Geppetto actually made the toys for Carlo himself. (However, I feel like this only would have made Carlo loathe them; in his eyes, it would've been proof that "father pays more attention to the toys he makes for me than actually looking at me".)

In short, the life of Victorian upper-class children was lonely, depressing, and stuffy to the point of suffocating. Given these circumstances, I would actually be surprised if this didn't leave mental scars on Carlo. It has been documented that a lack of parental affection causes psychological issues lasting all the way into adulthood, such as low self-esteem, trust issues, anxiety, difficulty with social relationships, and lack of emotional control. Also, considering Carlo was probably surrounded by puppet servants all day, he wouldn't even have had a single human being to interact with most of the time - something which most likely had a detrimental effect on his psyche.

Given this dreary existence, it would make absolute sense for Carlo to look nothing short of depressed in every depiction we see of him. The feeling of emptiness when being pressed into the corset of others' expectations is actually something I'm well acquainted with - it feels like walking beside yourself, like your body moving while actually feeling dead inside. A bit like a puppet on strings, if you will. With his life being a monotonous routine controlled by someone else, it wouldn't be surprising if Carlo had difficulty still seeing a purpose in it. (There have been some theories going around that Carlo committed suicide; at the very least, I think it's highly likely he had suicidal ideations during his youth.)

Perhaps this is where Pinocchio - the character from the fairy tale - might have become something like an identification figure for Carlo. Pinocchio was a puppet, but instead of doing what his creator intended - what his father expected - he did whatever he wanted. I'm sure Geppetto gave him the book as a measure to educate him, but it ended up having the opposite effect. In fact, it might have been what first taught him the concept of freedom: Geppetto's puppets only ever did what he told them to, executing the exact actions he had programmed them with, over and over again - but Pinocchio showed Carlo that it didn't have to be this way. (I've seen a lot of interpretations of Carlo disliking puppets, and while I can see where this is coming from, I don't think this is because Carlo disliked puppets in general. Rather, I think he saw them as "extended arms" of his father and a symbol of his need to control everything around him; otherwise, it would be a little strange for Carlo to be attached to the story of Pinocchio so much.)

However, I think beneath all the pent-up frustration and hatred, there was also the wish for his father to love and appreciate him. At the end of the book, Pinocchio returns to his father after all the hardships he had to go through, and the two reconcile and live happily ever after. Since Pinocchio's father goes looking for him when he disappears, perhaps Carlo believed that if he rebelled against him and put himself in danger, Geppetto would realize that he actually cared for him.

So, if Carlo was very prone to temper tantrums and acting defiantly towards his father, it might have been on one hand to show that he didn't want to be part of Geppetto's perfect stage play anymore, and on the other because he was vying for his attention. Due to his upbringing, however, Carlo wasn't really able to communicate his feelings in a proper way. (I like to imagine Carlo as a very emotional person, but having difficulty to actually express his feelings.)

Geppetto, however, wouldn't have the sensitivity to understand this - he most likely would've tried to rectify his son's "mischievous behavior" by disciplining, as was typical for the time period (in general, it was believed that you had to "beat the evil out of children" for them to become a good person). Of course, that wouldn't have made things better - in fact, I wonder if part of the reason Geppetto sent Carlo to Monad Charity House was that he was just at a loss what to do with the boy. Since all of his educational measures were fruitless, perhaps he thought that sending him to the boarding school would finally put Carlo on the right track - although the result of that probably was also quite different from what Geppetto expected.

Romeo

Meanwhile, poor Victorian children had to live in a completely different, brutal reality - for them, day-to-day life was a literal struggle to stay alive.

We know that Romeo was an orphan, and according to Eugénie, that's not much of a rarity in Krat. Indeed, street children existed in abundance during Victorian times: It wasn't uncommon for working-class children to lose one or both parents - due to unsanitary conditions in Victorian slums, many people died of disease, and given the hazardous working conditions in factories and coal mines, accidents were commonplace. However, the term of a Victorian orphan was actually a little broader than that, also extending to children who ran away from home due to hailing from alcoholic and neglectful families. Often, mothers who were single or had a child out of wedlock would also simply abandon their children. Whatever the reason for their situation, these children were forced to fend for themselves at a very young age.

In the Trinity Sanctum in Krat Central Station, there's a note mentioning a "pickpocket who was overconfident in a gamble" and "had his heart stolen and died". Since Romeo made "a deal with the devil" (the "devil" presumably being Geppetto who turned him into a puppet), people have interpreted this as referring to Romeo. Turing to crime to support themselves was not a rarity among poor Victorian children - in fact, half of the defendants tried at the Central Criminal Court of England and Wales between 1830 and 1860 were aged 20 or younger. There were even organized gangs of child thieves who were trained in pickpocketing by a "captain", similar to those from Charles Dickens' novel Oliver Twist. (However, the items that were stolen most often were actually not purses or pocket watches, but handkerchiefs; silk handkerchiefs had a pretty high resale value, and the thieves would take them from pockets, rip out the initials, and resell them for a good price.)

We can't be sure whether Romeo teamed up with a few other kids or not, but personally, I'd wager he did - it would be much safer to operate in a group in case one of them gets in trouble, and overall, Romeo's personality seems a bit too caring for a lone wolf. (As the King of Puppets, he was not only determined to save as many humans as possible, but also possessed the unconditional trust and loyalty of the other puppets. To me, this means he most likely cared about them, and they cared about him in return - if it was just programming, the puppets probably wouldn't be lamenting his loss after he dies. Compare this to Geppetto, who has to use force and coercion for others to obey him.)

Also, since the notes in the Trinity Sanctums always seem to have a connection to the place where they're located (factory worker -> factory; cleric -> cathedral; "greatest singer"/Adelina -> opera house), that would mean the train station was most likely Romeo's base of operations.* (Train stations tend to be very popular among thieves, since it's easier to pick pockets in the confusion of people boarding or getting off trains.) This would imply that Romeo didn't grow up in Monad Charity House since he was an infant, but arrived there at a later point during his childhood.

*EDIT: I just had a thought that the note in the Trinity Sanctum could also mean the train station is the place where Romeo died. (All the other notes are connected to murder or some other violent action, and since we can assume they were written by Arlecchino, he was probably more interested in that.) Since Geppetto has his secret workshop wagon in Krat Central Station, maybe the place where he built P is the same where he built Romeo.

Since there were so many orphaned children, the few orphanages that existed couldn't receive all of them. Instead, workhouses were established as institutions for all kinds of destitute people - including orphans - who were unable to support themselves and were given lodging and food in exchange for labor. However, many children actually preferred living on the streets, rather turning to crime than going to the workhouse. At a first glance, this may seem a bit unreasonable - surely, not having to run around in worn-down rags and steal your food just to survive would at least be an improvement?

Well... Turns out, not really. The conditions in Victorian workhouses were notoriously awful - they were overcrowded, unsanitary, and cruel places to live. Daily routine was strictly regimented, consisting of 9–10 hours of repetitive and physically demanding labor and very little free time. What little food there was was of poor quality, privacy was basically nonexistent, and the dozens of inmates sleeping together in dormitories often had to share their beds - children usually had to sleep up to four in a bed. The consequences for refusal of work or any kind of rule violation were beatings, deprivation of food, being locked up in solitary confinement in a dark cell, and other draconian punishments.

If this doesn't sound like a very hospitable atmosphere, that's because that was the exact intention behind it. Workhouses weren't meant to support poor people - they were supposed to scare them into finding work and make a living for themselves. Victorians viewed poverty as a self-imposed misery, and if you were a pauper, that was because you were lazy, retarded, or made bad choices in life. That's why beggars, vagrants, orphans, criminals, and mentally ill people were all indiscriminately housed in workhouses, because from the Victorian point of view, they all belonged to the same category of people: A stain that had to be removed from the public eye, either by forcing them to support themselves or by making use of their work force once they had donned the workhouse uniform. They were a nuisance to society, and their treatment in the workhouse was sure to make them feel that.

One of the worst fates for workhouse children, however, was to be hired out as pauper apprentices: Usually from 10-13 years of age, but sometimes as young as eight or seven, workhouses would send pauper children to factories in the countryside for an "apprenticeship". This "apprenticeship" involved factory owners buying children from orphanages and workhouses and making them sign a contract that lasted until they were 21 years of age, dictating that the apprentices had to be provided with food and accommodation, and in exchange, the factory owner was free to make use of their working power.

So in summary, workhouse orphans were essentially sold into slavery. This was all that much easier to do with children who had no parents and no other means to support themselves, and thus were free to be exploited by their employers. Some of the recollections from these former pauper apprentices are just utterly horrific - and in this case, I think it's appropriate to let the victims speak for themselves.

John Birley, who lost his father when he was two, lived in the Bethnal Green Workhouse for a time after his mother died of illness when he was around six. He was sent to Litton Mill as a pauper apprentice, and he had this to say about his experiences in an interview with The Ashton Chronicle in 1849 (source):

The same year my mother died, I being between six and seven years of age, there came a man looking for a number of parish apprentices. We were all ordered to come into the board room, about forty of us. There were, I dare say, about twenty gentlemen seated at a table, with pens and paper before them. Our names were called out one by one. We were all standing before them in a row. My name was called and I stepped out in the middle of the room. They said, "Well John, you are a fine lad, would you like to go into the country?" I said "Yes sir". We had often talked over amongst ourselves how we should like to be taken into the country, Mr. Nicholls the old master, used to tell us what fine sport we should have amongst the hills, what time we should have for play and pleasure. He said we should have plenty of roast beef and get plenty of money, and come back gentlemen to see our friends. The committee picked out about twenty of us, all boys. In a day or two after this, two coaches came up to the workhouse door. We were got ready. They gave us a shilling piece to take our attention, and we set off. I can remember a crowd of women standing by the coaches, at the workhouse door, crying "shame on them, to send poor little children away from home in that fashion." Some of them were weeping. I heard one say, "I would run away if I was them." They drove us to the Paddington Canal, where there was a boat provided to take us. We got to Buxton at four o'clock on Saturday afternoon. A covered cart was waiting for us there. We all got in, and drove off to the apprentice house at Litton Mill, about six miles from Buxton. The cart stopped, and we marched up to the house, where we saw the master, who came to examine us and gave orders where we were put. [...] Our regular time was from five in the morning till nine or ten at night; and on Saturday, till eleven, and often twelve o'clock at night, and then we were sent to clean the machinery on the Sunday. No time was allowed for breakfast and no sitting for dinner and no time for tea. We went to the mill at five o'clock and worked till about eight or nine when they brought us our breakfast, [...] We then worked till nine or ten at night when the water-wheel stopped. We stopped working, and went to the apprentice house, about three hundred yards from the mill. It was a large stone house, surrounded by a wall, two to three yards high, with one door, which was kept locked. It was capable of lodging about one hundred and fifty apprentices. Supper was the same as breakfast - onion porridge and dry oatcake. We all ate in the same room and all went up a common staircase to our bed-chamber; all the boys slept in one chamber, all the girls in another. We slept three in one bed. [...] Mr. Needham, the master, had five sons: Frank, Charles, Samuel, Robert and John. The sons and a man named Swann, the overlooker, used to go up and down the mill with hazzle sticks. Frank once beat me till he frightened himself. He thought he had killed me. He had struck me on the temples and knocked me dateless. He once knocked me down and threatened me with a stick. To save my head I raised my arm, which he then hit with all his might. My elbow was broken. I bear the marks, and suffer pain from it to this day, and always shall as long as I live. I was determined to let the gentleman of the Bethnal Green parish know the treatment we had, and I wrote a letter with John Oats and put it into the Tydeswell Post Office. It was broken open and given to old Needham. He beat us with a knob-stick till we could scarcely crawl. Sometime after this three gentlemen came down from London. But before we were examined we were washed and cleaned up and ordered to tell them we liked working at the mill and were well treated. Needham and his sons were in the room at the time. They asked us questions about our treatment, which we answered as we had been told, not daring to do any other, knowing what would happen if we told them the truth."

In case there were any surviving family members, the children were sometimes deported without their knowledge. In 1849, Sarah Carpenter related the story of her lost brother who was taken away from Bristol Workhouse to The Ashton Chronicle (source):

When I was eight years old my father died and our family had to go to the Bristol Workhouse. My brother was sent from Bristol workhouse in the same way as many other children were - cart-loads at a time. My mother did not know where he was for two years. He was taken off in the dead of night without her knowledge, and the parish officers would never tell her where he was. It was the mother of Joseph Russell who first found out where the children were, and told my mother. We set off together, my mother and I, we walked the whole way from Bristol to Cressbrook Mill in Derbyshire. We were many days on the road. Mrs. Newton fondled over my mother when we arrived. [...] My brother told me that Mrs. Newton's fondling was all a blind; but I was so young and foolish, and so glad to see him again; that I did not heed what he said, and could not be persuaded to leave him. They would not let me stay unless I would take the shilling binding money. I took the shilling and I was very proud of it. They took me into the counting house and showed me a piece of paper with a red sealed horse on which they told me to touch, and then to make a cross, which I did. This meant I had to stay at Cressbrook Mill till I was twenty one.

So, if the situation in the Lies of P universe in any way resembles that during the real-life 19th century, and if these street children are in any way smart, I think it's very understandable they'd want to stay the hell away from the workhouse or any similar institution. Of course, it would be easy to attribute this to laziness, but honestly, I'd say they just wanted to avoid the abuse. (You could pose the question whether there are even any lowly paid jobs for children to do in the LoP universe, since a lot of those were probably taken over by puppets. However, if you ask me, that might only lead to employers trying to underbid the price that puppet laborers would cost, which would lead to serious wage cuts for any human workers - we know there was a violent protest of the factory labor union, which might have happened for a reason like this. Also, I reckon the puppet industry itself would create new branches of "dirty work", like recycling parts from scrapped puppets, disposing of puppet junk, etc.)

In fact, these harrowing stories happen to have quite a few parallels to the original fairy tale of Pinocchio. Did you notice? The children are taken away in coaches and carts, in a way that conceals their presence (e.g. in a covered cart or in the dead of the night), which is very reminiscent of the Coachman picking up boys at night (in the book, the coach is described as having wrapped wheels, so it doesn't make noise and can't be discovered). At first, the children are told they can make a fortune by working in the textile mills and will have plenty of time for leisure - in A memoir of Robert Blincoe from 1828, it's even mentioned they tried to lure children into working in a cotton mill by telling them that "they would be transformed into ladies and gentlemen" when they arrived there, that "they would be fed on roast beef and plum pudding, be allowed to ride their masters' horses, and have silver watches, and plenty of cash in their pockets". This sounds quite similar to the Coachman promising the boys unlimited play time and freedom if they come with him to the Land of Toys. However, as both the pauper apprentice children and the boys from Pinocchio had to realize, all of this was a fraud to exploit them for what is essentially slave labor.

This also suggests that with his depiction of the Land of Toys, Carlo Collodi was doing more than just telling a horror story to scare kids into behaving. He was commenting on a real-life problem - and this, exactly this, is what Collodi wanted to warn his young readers about. In that sense, the boys turning into donkeys might also be a metaphor for what their employers saw them as: livestock, to be used and abused as they pleased.

Because the living conditions of workhouse children were so appalling, there was clamor for change, specifically among the reformist middle class. It was argued that orphans and destitute children should be housed in an institution meant exclusively for them, rather than together with criminals, cripples, and lunatics. The movement really began to pick up speed in mid-19th century, and many orphanages were founded by private benefactors and philanthropists. One of the most influential was Thomas John Barnardo, the founder of the charity Barnardos, who built homes for waifs, strays, and all kinds of children in need to provide them with a place to live, food, and education.

In general, there was an effort to make education accessible to even the lowest classes. Sunday Schools and Ragged Schools were established, which allowed poor children to take classes without having to pay a fee, giving them more opportunities in later life. However, the parents of working-class children were often against them going to school, since it meant that they couldn't work to earn additional income for the family. This is why attending school was made mandatory for all children between 5 and 10 in 1870, with the leaving age being raised to 11 in 1893. (This is also what Carlo Collodi meant by saying "for the love of God, get yourself some education" - because if you didn't, you would be stuck in a circle of bone-breaking labor forever.)

The Monad Charity House fits quite well into this historical frame: We do know that the Rose Estate was originally a charity organization for poor children, but was turned into a boarding school after Lady Isabelle and the Monad family started sponsoring money. Since charities for poor children are a phenomenon of the mid- to late-19th century, it's possible the situation was a lot worse before in the Lies of P universe as well. Romeo might not have gone there willingly (perhaps he was caught during one of his thefts), and truth be told, Victorian schools weren't the most rosy of affairs (if you'd like to know the details, feel free to check out this page). However, given what could've been his fate, Romeo probably considered himself lucky to be alive and not exploited by someone else for donkey work. (Still, one thing that should be kept in mind is that the Alchemists' patronage of the Rose Estate probably isn't based on purely altruistic motives: Since all of the children are trained as Stalkers, Alchemists, or Workshop Technicians, all of them ultimately become part of Krat's economic apparatus.)

It seems almost miraculous that two boys coming from such different worlds would develop such a strong bond. However, despite this, they had one experience in common: pain. Although the way in which they suffered might have differed, they both knew what it's like to be abandoned. Romeo had to grow up in a society that didn't care whether he lived or died, and since all Carlo ever received from his father was scrutiny or cold ignorance, he probably felt the same about him. Living in a cruel world where the odds were stacked against them, it's easy to see why these kindred souls sought comfort in each other.

In any case, if the untold backstory of these characters was crafted with this in mind, my sincerest compliments go to the people of Neowiz for not only taking such a nuanced approach to child education in a historical context, but also for doing so with respect to the original story by Carlo Collodi. It may be really subtle at times, but you can't deny how much effort the devs put into the themes - themes that are so universal to human psychology that they continue to be relevant today, and undoubtedly made the story resonate with a lot of people.

#lies of p #lies of p carlo #lies of p romeo #lies of p geppetto #analysis #lore theories #the adventures of pinocchio #carlo collodi #I've never used so many content warnings in a post before xD #Carlo seriously has one of the most messed up family situations I've ever seen #like I knew it was bad; but I had no idea it was THAT BAD #also I was floored when I found out that the Coachman essentially had a real-life inspiration #anyway here I am back to trying to deduce story contents based on historical comparisons xD

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eyesthecolorofarson · 8 months

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Three hours ago Damian went MIA.

He was supposed to be on patrol but three hours twenty-six minutes and forty-five seconds ago he veered off route and hasn't answered any texts, calls, or alerts since. Luckily he hadn’t turned off his tracker so they could see he was on the seventh floor of a children’s hospital in the upper west-side.

Tim would be lying if he said he wasn’t worried. Damian had been disappearing more and more often lately, but this was the first time he disappeared on patrol. Behind him Bruce was losing his mind, muttering to himself nonsense Tim didn’t bother trying to understand.

He was at the Batcomputer, hacking into the hospitals seventh floor emission room cameras and flicking through them to try and find Damian. Dick was at his left, scanning the footage for any clue of their brother’s whereabouts. Jason had his feet kicked up on his right, pretending like he didn’t care, but he was watching just as intently.

Case was trying to get Bruce to sit down and actually breath, Steph was still on patrol and Duke was dead to the world. He was pretty sure Alfred knew where Damian was going and probably had a good clue as to where he was now, but if he wasn’t saying anything Tim knew better than to ask.

Finally, they got something. Well, a bit more than something. Ok, a lot more. It was a double room, with a standard bed in front of the door and a crib across up against the wall. To the left of the standard bed were two nightstands. The first one had a light show projector shaped like a UFO, a phone charger, laptop, several fidget toys and a kalimba. The second was empty and the crib had a collapsed gate inside it. Next to the bed was a couch with a few bags sitting next to it.

In the standard bed was Damian, drawing in a sketchbook he knew wasn’t his just from the stickers on the cover. But next to him, cuddled up to him, was a girl. She was African with gold eyes and curly baby blue hair in a bob. The ends of her curls faded into multiple colors, giving the impression of a rainbow and blue sky. She was wearing a hospital gown, and Damian was wearing….a shirt that said ‘cotton candy club’ in pastel blue purple and pink with cartoon cotton candy???

The computer told him her name was Lydia Lippet, who’s family, friends and nurses nicknamed ‘Fireworks’. She was sixteen and suffered from the genetic disorder AIP–Acute Intermittent Porphyria.

He, Dick and Jason stared for a second. “Uh, B? Cass? We found him, but—Well, your not going to believe this.” “O. M. G! A girlfriend! He has a girlfriend! Oh how could we ignore the signs!?” Dick cheered as Bruce and Cass rushed to the batcomputer. They all watched as the girl-Lydia-snuggled closer to Damian, who smiled and pulled her closer by the arm around her waist.

Bruce watched silently, almost gaping. Cass just smiled. Jason took a picture then started texting so fast Tim worried he’d break his fingers. “Tim, rewind the footage and find out when Damian entered.” Bruce said, sounding confused and a little worried. Tim rewinded until he found the moment Damian, as Robin, entered through the large window.

They watched as he stared at Lydia for a minute, his eyes wide and trailing all over her. Now the crib was next to the bed and the gate was open, and the area between the beds had a blanket and all sorts of baby stuff laid out and the couch was under the window. The baby gave a little gurgle and he jumped like he didn’t know it was there. Lydia sat up and looked towards him. “Damian.” She sounded breathless, a little rough with a thick Gotham accent. “Lydia.” He sounded almost heartbroken, rushing to her side.

“What—Is this why you haven’t been answering your phone? Have you been here for two weeks? What happened?” Lydia laughed sadly. She scooted over and patted the bed, making Damian paused. He looked to the door and the nurses window then back at her. “Can I change before we speak? I don’t—“ he stopped and took a deep breath. “I’m not going to leave you.” Dick ruined the moment when he ‘aww’ed. Jason told him to shut up.

Lydia nodded and motioned to a possum-shaped plush backpack on the table across from the cradle. “I ‘ave some shirts and pants in Moonstone. The bathrooms that door.” Damian grabbed the shirt they’d seen him wearing and a pair of pink pajama pants. He was in and out in less than five minutes, which was a new record. Getting out of costume took time.

Lydia giggled softly. “Ya’ look great.” Damian huffed. “I could say the same about you.” She giggled again and hugged him as soon as he got in the bed. He stiffened for a second before relaxing and practically melting into the hug. Damian sighed and whispered, “I missed you.” Lydia hugged him tighter. “Missed you more.” They pulled back and stared at each other—

And Lydia burst into tears.

Unfortunately a nurse walked in right as she threw herself onto him and cried. The nurse stood dumbfounded as she watched Damian Wayne shush and comfort Lydia. He noticed the nurse and leaned forward. “Please leave. And don’t let the press know. For her,” he motioned to Lydia then behind him, “and the infant’s sake.”

The nurse nodded and quickly left, and Tim pulled up another camera. Thankfully the nurse kept to herself and even put a ‘do not disturb’ sign outside of the room and closed the blinds on the door and nurses window. He kept that camera up just in case but focused back on Damian and Lydia.

She was talking as she cried. “I-hic-I wanted to call ya’—“ she choked on her tears and Damian pulled her to his chest. “You don’t need to explain,نجم شمال, just let it out.” She shook her head. “I—Jazz—“ She bit her lip and looked at the cradle. The baby, Jazz, gave a tiny coo and Damian seemed to understand.

“Ok, breath for me, in and out slowly. Just like that.” In five minutes she was calm again, cradled against Damian’s chest as he ran his hand through her hair, lightly pulling a strand on his finger than letting it bounce back. Lydia had her eyes closed, a content expression on her face. “Thank you.” She whispered, opening her eyes and gazing up at him.

“Of course.” He whispered back, continuing to play with her hair. Dick was silently screaming, jumping up and down. Bruce had sat down and was watching intently. Cass was jumping with Dick. Tim was trying to piece together how long this has been going on. Damian started disappearing about two and a half years ago, so they’d definitely had time to get to know one another.

“Five years ago,” Lydia started, “I was diagnosed with AIP—Acute Intermittent Porphyria.” She pressed a button on the side of the bed that made the back end start to raise. “It’s a rare genetic disorder that has a lotta stupid triggers,” she continued, “like infections, hormones, and sunlight. Well, those are my triggers.”

“AIP sucks cause’ it’s not only rare, but symptoms and triggers are so different b’tween every person. Don’help that a lot of them are asymptomatic. It took like, a whole year in this hospital to get diagnosed.” She chuckled sadly and leaned against the bed when it was raised all the way up.

“What are your symptoms?” Damian asked softly. She huffed and put her ear to his chest. “It starts with a lot of vomiting. Like, not like there’s a lot of vomit, more like I vomit everything. Food, applesauce, pills, even water comes up in less than five minutes. Sometimes thirty seconds.”

Even water? That wasn’t good, and he could tell Damian was thinking the same thing from the way his eyes narrowed. “Then the pain starts. Abdominal pain so bad that it hurts ta’ breath. Talkin’ becomes unbearable, much less moving. And—moving.” Lydia stopped and sniffled, raising her hand. Or, trying to. A little below her neck her hand stopped and began shaking, like it was stuck in place.

He was confused for a second, but then he took in the way her hand was curled into a fist, how her fingers twitched but then returned to the same position, the tears filling her eyes. “You can’t move your hands.” Damian realized. He sounded horrified. “And if talking hurts, then singing—your instruments—“ He looked around the room before looking back to her. “Your legs as well?”

Lydia nodded sadly, letting her hand drop. “My body can’t get the nutrients it needs, so it takes it from my muscles.” She tried to open her hand with her other, but that hand was stuck in a fist too. “My body is cannibalizing itself. We’re lucky we caught it early this time. The last time it started attacking my bones.”

“You can’t sing.” Damian said again. “You can’t dance, play your instruments, draw. You’ve lost your music.” Lydia nodded again, biting her bottom lip. She took a shaky breath before continuing. “Another thing that happens is that—well, all this starts ‘cause m’body doesn't have an enzyme that it’s supposed to. And that causes it to produce another, really bad enzyme.”

“All this—we don’t really know why this is happening since it hasn’t happened with many other people with AIP, but—um.” She took another deep breath, looking Damian in the eye. “My kidneys are shutting down.” At Damian’s expression she backtracked. “Well, they were, but now their not! But their in real bad shape and that ain’t even talkin’ about my liver or appendix which by the way? Did’ya know all this could cause my appendix to burst?”

She smiled weakly as Damian immediately began fussing over her. Asking if she was in pain right now, pressing different parts of her stomach and asking if it hurt, if she’d drank any water, if she could. It was honestly really cute. He and Jason shared grins as Dick and Cass began talking about stories they could tell her, how they could introduce themselves. Bruce sat silently, looking stunned but a little pleased.

“This attack isn’t as bad as last time,” She reassured him, “and it’s nowhere near as bad as the first.” There was a story there, a sad one from the way she said it but she didn’t continue and Damian didn’t push. Jazz began babbling loudly and crawling around the crib. Lydia smiled.

“That’s Jasmine, but I call her Jazz. Baby’s ain’t suppose’ to room with anyone older than one but she needed to be emitted badly so they asked if she could stay with me. Obviously I said yes. Hiya lovebug!” Jazz squealed and sat up, clapping her hands. Damian watched as Lydia cooed and played peek-a-boo with her blanket, Jazz babbling like crazy.

“Uh oh,” Jason snorted, “I know that look.” He was right—they'd seen that face more than once. Usually before Damian brought home an animal he realistically shouldn’t have been able to find in New Jersey. Damian stood up and went around the room, putting on bright red shoes and a pastel rainbow puffer jacket and picked up the possum bag. “What’cha doing?” Lydia seemed amused. Probably because her fashion style looked a little ridiculous on Damian.

“Im going to your apartment and collecting things I know you'd like to have. And while you are not capable of using some of them such as your instruments and sketchbooks I’d enjoy practicing your art style and learning a new instrument. Jasmine would also enjoy some entertainment, no?”

Lydia stared for a few seconds before her eyes filled with tears. She used her shoulder to wipe her eyes and motioned Damian forward. When he was within reach she pulled him down by his shirt to hug him. She whispered something in his ear that made him smile and say something back before leaving through the window. Tim sped up the footage until Damian returned, which was an hour later. The bag didn’t look to be full, and thinking about it, how was he supposed to fit instruments and sketchbooks in a backpack that size? He gave the backpack to her, took off the shoes and jacket and got back into the bed, smiling as she gasped.

She reached in and pulled out the kalimba from before which was wider than the bag and a colorful hip-chain with six rainbow stars, each one with a clip on the bottom connected to a ribbon that seemed to be a backwards rainbow. The first three ribbons were wrapped around and holding small poké balls, while the other three were empty.

Lydia positioned her hands on the kalimba before playing. Even with her hands, which took her a minute to get into the right position, she played it beautifully. Damian listened to the upbeat song for a moment. “An Irish jig?” Lydia nodded. “The Butterfly by Tommy Potts.” Jazz squealed at the song, clapping her hands and crawling around her cradle.

Lydia smiled and continued playing, asking Jazz if she liked it when she was done. Jazz screamed and babbled happily, bouncing in place and waving and clapping her hands. Lydia looked in the bag again, this time pulling out a flute longer than the bag?? Tim looked between his siblings and father as they took in the footage.

Jason began laughing, probably at Bruce’s face. “The brats girlfriends a meta! An unknown meta in Gotham!” Bruce, who had unfortunately taken off his cowl while watching the footage, looked simultaneously devastated and confused. “She could be a magician!” Dick said, patting Bruce on the back. “Maybe it’s like Mary Poppins or Hermione Grangers never ending bag!”

Damian gave her a look, but Lydia said she needed to exercise her lungs. He huffed, but helped her raise her hands. The next song she played was very different from the one before, and Tim recognized it immediately. “That’s Isabella’s Lullaby from The Promised Neverland.” Dick and Jason nodded, Cass doing the same from her seat next to Bruce. Bruce looked a little confused before Cass signed to him ‘anime’.

Jazz made a ‘whoaaaaa’ sound and listened intently. Damian was listening as well, and as the first verse ended he began to sing.

‘Let me sing a lullaby

As you close your eyes

And as your drifting off to sleep

How I hope that the dreams that find you

Are bright’

Damians voice was surprisingly nice, slightly deep and his accent a bit more pronounced. He had an arm wrapped around Lydias waist and his eyes closed. He looked calm.

‘Love can we meet again soon in the bluest of skies?

Where a tomorrow waits for you and I

So hold me tight one more time, but don’t say goodbye

‘Cause I know that I’ll see you on the other side’

Lydia had her eyes closed too, swaying slightly to the tune. Jazz looked mesmerized.

‘I will think of our song when the nights are too long’

Damian opened his eyes and gazed at Lydia

‘I’ll dream of you for that’s where I belong

Love, can we meet again soon in the bluest of skies

Only, in my dreams, do we meet again’

Damian’s voice ended on the same tune as the flute, and when the note ended Lydia opened her eyes. They locked eyes and stayed that way until Jazz squealed. Damian blinked rapidly for a few seconds before blushing, Lydia laughing even though her face was turning red as well.

“You’ve gotten better.” She leaned into him as Damian huffed, looking away but pulling her even closer. Damian was going to retort but the door opened again and two people entered. One was a black women shorter than Damian with greying thick curly hair similar to Lydias pulled into a large bun, and the other was a tall heavyset white man with a receding hairline and grey beard. The computer told him they were Laura and Logan Lippet, Lydia’s parents.

They had styrofoam take out boxes and a drink carrier. They stopped when they saw Damian, but then continued on. “Hey Damian!” Mr.Lippet said, putting the boxes on the table. “Was wondering when you’d show up.” Mrs.Lippet and Lydia laughed as Damian smiled, accepting Mrs.Lippets hug. “When’d you get here? Or how’s a better word.” She laughed and handed a box to Lydia and sat a drink on the nightstand.

“Garlic pasta!” She cheered, kissing her moms cheek. “I just came back after, uh. I broke into your apartment again, but only to collect Lydias things.” Mr.Lippet threw his head back and laughed as Mrs.Lippet smiled and shook her head. “As to how, don’t worry about it.” The Lippets laughed again. “Did you see the brownies Liam made?” “Yes, he added pistachios this time.”

“They seem weirdly chill about a billionaires son breaking into their house and getting into their daughters hospital room.” Jason commented, Tim and the others agreeing. Lydias parents had expected Damian to not only show up, but eat their food when entering their house? Either Damian was closer to these people than they thought, or the Lippets were a little crazy. Judging from the records he was seeing, it looked like the latter.

“That’s weird,” Tim hummed, “there’s records of her meta gene, but for some reason we didn’t get an alert.” Usually every time a meta was documented in Gotham they would be sent an alert about it through a not-so-legal chain system Babs set up. But even though Lydias meta gene was reported when she was three, they’d never gotten an alert. Well, now that Tim was looking, they had. But it’d been deleted very recently.

Apparently her ability was ‘Art Manifestation’. Tim didn’t know what that meant, but he had a feeling they’d find out. He brought up the file next to the camera where the Lippets and Damian were talking and laughing. Damian was holding Lydias drink just out of reach, laughing as she tried to grab it with her teeth. “Use your hands,” he taunted her, “it’s physical therapy!” Her parents roared with laughter as Lydia began hitting him as best she could. She was laughing with them.

A little while later Jazz's parents came in with a nurse. They had the normal reaction to seeing Damian Wayne cuddling with Lydia. “Hey Joseph, hey Ariana!” Mr.Lippet called to the stunned couple, “This is Damian, Lydias boyfriend.” Damian greeted them as politely as he could with Lydia teaching him how to use the portable loom she’d apparently forgotten she had in the possum bag.

“Their dating!?” Dick gasped. “Isn’t that what you said?” “I was joking! Oh my god, Damian actually has a girlfriend!” Jason laughed again and Dick began panicking. “Oh we were supposed to spy on their first date! And mess with Damian about it, figure out her favorite things so we could tell Damian, oh my god we missed seeing them on Valentine’s Day!” Cass patted his back. ‘There will still be valentines days to see and things to bully Damian about. I do not think they’ve had sex yet.’

Bruce choked. “Cass!” She gave him a confused expression as Jason laughed harder. Dick continued to sulk. “I don’t wanna know about that stuff…..I hope he at least tells us about their first date.” “I’m more interested in how they met. Lydia seems pretty forward so far.” Jason snorted. “You think she asked him out?” Tim shrugged. “You think Damian would’ve?”

Apparently Jazz was getting moved to Boston Children’s Hospital for further treatment. Damian and the Lippets helped her parents pack up Jazz’s toys while Lydia tried to persuade them to let her help. “I can stand!” She whined. “But you can’t for a long time,” her dad responded, “and while your stretching has helped a lot we don’t want you over exerting yourself and getting hurt.”

“Has she been seen by physical therapy?” Damian asked. Her mom huffed. “She’s supposed to see them every day, but just like last time we’ve only seen them the first day. They come in, tell us she’ll be seen every day and then we never see them again!” Damian gave an unpleased ‘Tt’ as he folded Jazz’s blankets.

In a few minutes they were ready to leave and the Lippets cheerfully said their goodbyes, Damian doing so awkwardly. After they left Lydia reached over and opened her computer. “Now it’s horror movie time!” The Lippets laughed as Damian raised an eyebrow and sat next to her. “You couldn’t watch them before?”

“Not with Jazz in the room,” she muttered, switching between scrolling and typing. “Don’ wanna traumatize the baby. Y’all feeling like a thriller or gore?” Her dad looked over her shoulder from where he was standing. “Damian, you ever seen ‘Someone Marry Barry’?” Mrs.Lippet snorted as Lydia groaned.

“We are not watching a romcom.” “Why not?” Her dad whined. “Netflix just got like seven new more!” Damian smiled as Lydia argued with her dad. He seemed more relaxed with them than he did at the manor. Lydia and her dad got into a slap fight. It felt weird to watch normal people play fighting. Usually when they play fought it’d involve actual weapons and strategies to find the best place to tickle.

But Lydia and her dad were normal people. They slapped each other harmlessly, without worrying if they’d accidentally hurt them. Lydia shrieked with delight as her dad grabbed her and shook her around, chanting ‘Romcom, romcom, romcom!’ “Alright alright alright!” She giggled, “we’ll watch one horror one romcom, how’bout that?” Her dad agreed and pulled the table from across her bed to the foot of the bed. He then moved the crib to the position they’d first seen it in.

While Lydia found a movie Mr.Lippet moved the couch from under the window next to the bed. He and Mrs.Lippet settled on the couch, Mrs.Lippet with crochet and Mr.Lippet with his own computer. “We can watch the Evil Dead series! They just made a new movie!” Lydia said excitedly, showing Damian a movie screen that he’d seen trailers for. Damian tilted his head.

“How will we watch a series when we’re switching genres?” “We watch one, watch one of dad’s shitty romcoms, then the second movie, and so on!” Mr.Lippet snorted, “Just for that I’m going to make your Roblox avatar ugly.” They all laughed. “Hey! Don't do that! I can’t fight back, we’re watching movies!” Her dad playfully rolled his eyes and muttered “hang on,” and began typing very fast.

“Lydia, turn on the TV.” She did. They waited as he typed very fast for a few minutes before the hospital TV glitched, blacked out and then showed Lydias computer screen on Prime. They cheered. “What the fuck?” Jason said, “How the hell’d he do that?” Tim shrugged. “I’m not surprised,” Barbara’s voice came through over comms, “He’s the configuration manager for TSA, and before that he was IT, and before that he was CIA, and before that he was Navy Seal. He’s on the no fly list because he used to be a spy in the CIA.”

Oh. “And he lives in Gotham….why? Does he have any connection with any rogues?” “He was born in Michigan, Laura in Texas, and they married in Virginia and then moved around a lot because of the military. They were in Hawaii before they were deployed here at the harbor, Logan retired, and they had Lydia and her brother Liam. They’re Irish twins, she’s October 15th 2007 and he’s the 17th 2008. No connection to any rouges other than accidentally meeting Scarecrow in civies and telling him to go fuck himself for his bad parking.”

They all laughed as Lydia used the hospital remote to choose the first Evil Dead movie. Then she pulled out another computer and handed it to Damian, and pulled her computer off the table and into her lap. She typed a little, then gasped. “Hey! That’s not nice!” Damian laughed as her dad retorted, “Calling romcoms shitty isn’t nice! Enjoy your skeleton!” Damian snorted. An actual snort.

Was he dead? Hallucinating? Dreaming? Or did he actually hear Damian Wayne snort? “Well, I approve.” Jason laughed as Lydia and Damian began playing Roblox with her dad. “She’s making him laugh, he’s relaxed, he gets along well with her parents and her parents are apparently super cool with all his weirdness. I think we’re looking at the future Mrs. Wayne!” Honestly? He wouldn’t mind having another new and weird addition to this family.

#Damian Wayne x original character #original character #damian wayne #tim drake #jason todd #bruce wayne #cassandra cain #batfam #not me projecting a disorder I have but the character I gave it to initially didn’t #Like I know she’s an original character and I can just give it to her but. Y’know. No I can’t #The baby inspired by a baby I met in the hospital #Different name and illness but the same cutie patootie :3 #Writing this also made me realize that I haven’t really decided what Lydia Lippets main power is even though I thought I had #Like in both the main stories I use her in she’s The Bard and can alter reality and create things by singing #But then I write multiple shorts like this and it’s like ‘oh no everything she draws can be brought off the page and into real life’#It’s like jfc me pick a power #Also implied that those pokeballs hold actual Pokémon she brought to life #if you want to see more of her your going to have to wait because hands no write :’)

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