Misha (he/any)/Миша (он/его). Adult. Russian (❤🇺🇦). This is a sideblog for my art/writing/etc. Main: @moskvisha. || Do not reupload my art || Bsky: @moskvishacreates.bsky.social || I block pr0ship/pr0fic/whatever and "AI" "artists" (and defenders) on sight, and I generally block liberally
I'm Misha (he/him preferred, but others are fine). I'm a queer Russian artist, writer and yapper. Adult (b. 2004). Probably autistic.
(Main/follows and likes from: moskvisha)
This is a sideblog for my drawings, writing, edits, etc, featuring both my original characters and my fandom work (I reblog others' work to my main), and also generally for my takes on artistic media, like animated shows, video games, books, etc. I add image descriptions to any original images I post.
You'll probably never see any graphic nsfw on this blog (not really my type of thing), but suggestive content is sometimes present; you can filter the tag "cw: suggestive" to avoid it. Political themes may also be present, particularly with my original works.
Current active interests: my OCs; Deltarune.
If you'd like to ask anything, feel free to send an ask! Anon asks are enabled.
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General tags:
#misha draws stuff (drawings);
#misha writes stuff (writing);
#misha's edits (edits);
#misha's theories and analyses (analyses, theories and sometimes detailed headcanons);
#misha's text posts (original post tag for when I'm not using any fandom tags or the above tags);
Original story/OC tags:
#misha's original works (general tag);
My OCs exist in a universe that has our world with minor differences and a second/mirror/parallel world that has more magic, and it's possible to travel between the two; the other world has at least one country in it. The characters are human, but some have magical abilities, ranging from mild to powerful. There are some alternate history elements due to the existence of magic. I don't have an overarching plot at the moment.
Deltarune stuff:
#deltarune;
#spamtenna;
Autistic Spamtenna analysis post;
T4T Spamtenna analysis post (new/improved version);
I acquired the fixation after the release of Chapters 3 and 4. I post a lot of Spamtenna, that's my primary focus, but I enjoy the other characters too.
The relationship between these two is deeply important to both of their stories, they're important to the story and themes of Deltarune as a whole by being Darkners who tried to defy their purpose and were punished for it, and their separation is an allegory for gay relationships being forbidden. I dislike the "divorce" and "toxic yaoi" fanon; that stuff is a combination of media illiteracy and also of people missing the relationship's aforementioned importance. Also, I like exclusively Spamtenna, I dislike all other ships with them.
I'm of the firm belief that keeping Tenna in Castle Town is the better/healthier outcome for him (this post explains the reasoning). I also wrote this analysis about why the tone in which Tenna asks to be given away changes between Chapter 4 and 5, and how he knows he wants to be more than just an object, and he gets to have that in Castle Town, but not if he's given away.
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I'm generally a picky shipper, and this tends to be to a greater degree when I'm really invested in a character. I don't like most ships and find the general fandom obsession with shipping every character with every other character, even if it's at the expense of characterization/narrative/themes/etc. (like being OOC for one or more characters involved), to be annoying, alienating, and sometimes uncomfortable. I have a lot of tags filtered, and most of them are ship tags. Romantic relationships aren't uniquely more interesting/complex/etc. than non-romantic ones, and I think people should invest more in non-romantic relationships.
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A couple more things:
Do not repost/reupload my work (or any other artist's work) without permission. And get that permission before posting, instead of posting and saying you'll remove it if they ask. Ask for permission, and if they say no or they don't reply, don't post it.
I'm fine with "spam likers" and "spam rebloggers"! If I didn't want my thoughts and creations to be engaged with, I wouldn't post them, I'd get like a journal or something.
I block pr0ship/c0mship/pr0fic/whatever on sight. Fiction doesn't exist in a vacuum, and anyone acting like it does is at best ignorant and at worst a liar. I support thoughtful, respectful exploration of dark subjects, and I do not wish to associate with those who treat them as cutesy lighthearted tropes.
Aside from that, I'll also block anyone who posts or supports "AI" "art" (art theft), and I've blocked people for not properly tagging their ship content, meaning that my filters (which I have many of) didn't hide it when someone I follow reblogged content of a ship I dislike.
(Please tag your ship content appropriately, it's better both for people who like the ship and for people who dislike it.)
I also just block liberally. I have plenty of people blocked who haven't done anything Wrong, but I just personally dislike the type of content they post.
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[This post will get updated sometimes. Last updated July 2026.]
I just realized that, since Lev has fire magic and Sergo is a figure skater, they could technically count as a fire/ice pairing. I was thinking of them more like a fire/fire pairing in their personalities, but I guess they're kinda more fire/ice there as well (at least in how they appear on the outside), but reversed, where Lev appears cooler/calmer, while Sergo is more outwardly emotional/passionate.
Besides spamtenna, what other ships do you like? Do you prefer only canon ships or are there any fanon ships that you do like? I was kinda curious since you mentioned that you aren’t a fan of most fanon ships in a previous ask.
For Deltarune specifically, I made a list of some ships I like or am neutral about. It's not all of them, but just ones I've actually thought of and/or seen commonly enough to be worth mentioning. Since I didn't mention this one, I'll add that I'm fine with that one Zapper and Pippins as a romantic pair, but I wish people in fandoms could start appreciating non-romantic relationships more; not everything needs to be made into a ship.
Also, it's worth saying that I'm not necessarily gonna like a romance just because it's stated or hinted at in canon; the quality of the writing matters (now that I'm at least somewhat media literate; it used to be more vibes-based). I think I like all the romances that are stated or implied to be canon in Deltarune, but in other stories there have been cases where I've disliked canonically confirmed or implied romances because I think they suck, or I just didn't care for them and thought they were boring and unnecessary. I think it mostly tends to be m/f relationships; at least the ones I can recall are m/f (they're more prevalent in media overall, so it'd make sense that I'd find more of them that I don't like).
Two examples I can think of:
I've never liked Aang and Katara as a couple in ATLA, ever since I was a kid, and my opinion has only solidified as an adult. I fully buy Aang having a crush on Katara, but I don't buy that she'd ever be into him, and I don't like how her character gets sacrificed in service of this romance (mostly after they get together). I generally think romance was one of the weaker elements in ATLA from what I remember, though I like Sokka and Suki as a couple, I think they're the best and most memorable (but apparently they broke up in the comics?).
And, as much as I love TOH, I think the decision to include hints at H*ntlow is terrible writing. I especially think it's a terrible decision to have that interaction in FtF be the conclusion to their arcs.
Willow's arc was about gaining confidence, while also learning to open up about her emotional struggles instead of bottling them up, and Hunter's arc was about escaping his abusive uncle and becoming his own person rather than what his uncle wanted him to be (while also finding friends and found family; Luz explicitly said "you're family now" and he cried). The "parallel" the show attempted to make with them being called the same slur ("half-a-witch") is really weak, they don't actually have that much in common; Hunter has stronger parallels with Amity, to the point of them even having the same deepest wish - to figure out their own future - because both had controlling guardians (Hunter's hair being darker in the finale implies it may have been getting bleached previously, so both of them even had their hair dyed). Hunter and Willow also barely had any screen time together; there's ASiaS, where they just met for the first time, and then they had some brief interactions in a few other episodes (some being in the TtT intro montage), before FtF finally had another substantial amount of interaction (and actual conversation) between them.
So I hate that FtF, the last episode that focused on either of them, went the route of focusing on their relationship with each other (and possibly hinting at romance), while also sidelining Willow's longtime friend Gus, who actually had the same struggle as her (he also missed his dad! while Hunter didn't even have anyone he saw as family, as the TtT montage showed!) and would've related more to her! And she also comforted him earlier in the episode, so it would've made sense to have him do the same for her! Why does the episode end with Willow and Hunter standing together, while Gus is separate, even though both of them have stronger bonds with him? Also, just a few episodes ago it was established that Willow doesn't like it when people are physically overprotective of her and underestimate her abilities, so I think it was a bad decision to add that moment where Hunter saves her from falling and have her blush at him, sacrificing her personality for the sake of a pointless ship. Like, at least give her a neutral reaction to it. (But I'd rather they just cut that moment altogether, it exists purely for shipping purposes. Willow has also successfully broken her fall in ASiaS by using her magic to grow a big plant to land on.)
Also, it was a bad choice to have her only start showing interest in Hunter/blushing at him once he gains the ability to use magic without a staff (he was previously magicless); I don't think the writers considered how that may come off. And I think giving Hunter powers was a bad choice in general; it barely got used anyway, so I think they should've just cut it.
(I also hate the fandom around the ship. It was inescapable even before FtF, it became popular right after ASiaS iirc, and it has always been annoying and felt very "pair the spares". If I'm not mistaken, Willow actually wasn't as popular of a character before this ship became popular, and now she's mainly popular through this ship, even though it sucks. Ironically, I've grown to love Willow more because of my hatred of this ship.)
Thought I'd make a post listing arguments for and against the idea of Mike being the giant realistic microphone.
Arguments in favor of it:
With no indication that he's anything other than just some Darkner guy named Mike, and with the remaining two Chapters being stated to focus on the main mysteries of the game, I find it likely that the question of Mike's identity has already been answered. Narratively, it would also make sense to bring up the question of his identity and then answer it by showing him to the player right after, if they go down that dark hallway; the microphone moving a little may be there to indicate that it's alive and not just an image or object. It's separate from the impostor trio and they don't seem to be aware of it, and it's also generally not trying to be visible most of the time (hiding in the dark), so it's not another impostor.
The microphone imagery in the Mike room is pretty heavy, which is likely where the trio gets their microphone imagery from, and his name sounds like "mic"; there are other Darkners whose names make it obvious what objects they embody, like Spamton (spam emails) or Rouxls Kaard (rules card), and whose designs heavily reference their objects, like Tenna's head being a TV or the Cuptains being cups with legs and eyes. We also know that microphones were present in the Dreemurr Residence, and one could easily be a Darkner.
Having the real Mike be a "real mic" is absolutely the kind of thing Toby would do. Even if this was not the original plan, some things may have changed during development, and Mike may have become a "real mic" as a result of his identity becoming a subject of speculation in the fandom; the impostor trio's existence likely wasn't the original plan either and only came about because of fan theories (the general idea of speculating about Mike's identity, which their existence references, wouldn't have become a thing if Deltarune wasn't being released in parts).
Battat said that when Tenna asks Mike to do something, either the trio does it in secret, Tenna does it himself, or "it just sorta happens", which is probably the real Mike doing it. This implies that he's still around and still helping sometimes. He has also supposedly "not been around" since Spamton left, and it's implied to be in reaction to that, and not because his object happened to be taken away around the same time (if that happened, Tenna would've likely known), and not because he didn't get taken to Castle Town (Small Mike said the trio worked on the minigames for months, so this has been going on for a while). The microphone fades in and out, implying the ability to become invisible, which would explain how Mike is simultaneously present and also "not really here". He's there, but just not talking to Tenna.
Arguments against it:
The arguments against this theory are mainly that "it's obviously just a joke", as though being funny makes it mutually exclusive with being true, or people still clinging to theories of Mike being someone other than himself (like FRIEND or the benefactor, even though the former is definitely false now and the latter wouldn't really make sense either). Having spent years speculating about Mike's identity based on next to no information, some people have built up these grand ideas of him in their heads, so they can't accept a more simple, straightforward answer, because it doesn't feel right to them/doesn't match their expectations. Another argument is that the microphone doesn't look like it's alive, but it moves a little, which seems to suggest it could be.
There are a couple stronger arguments though. There's one that points to all the cat imagery, and thus speculates that Mike is related to cats in some way, especially given that the Japanese word for calico and tortoiseshell cats is spelled like his name when transliterated (mike); however, the revelation that the impostors were the ones that worked on the minigames and at the very least trained the cats weakens the real Mike's connection to cats, giving it to the trio instead (Pluey himself is also literally a "mikeneko"/Mike Cat, and thus the term may have been referenced through him already). Another argument is that there's a microphone that can be interacted with in the Dreemurr Residence, so some people think that specific microphone is Mike, and thus believe he wouldn't be in Castle Town.
Question but do you think Tenna's constant comments about his own nose maybe a form of gender envy/dysphoria? Since he keeps making comments about how his nose is a true nose and tries to make Spamton's nose seem worse in comparison? Which we know that's his coping mechanism for things he's insecure about.
Unless I'm missing something, Tenna doesn't really reference his nose that much? It's certainly not constant (but maybe that's more of a thing in fanart?). I just rewatched a playthrough of Chapter 3 (up to the pipis cutscene), and I only saw one instance that I didn't remember (and it's just Tenna saying his nose is "tingling from the excitement" during one of the battles). I've straight up not seen any comment where he tries to claim it's a "true nose".
The closest line I can think of is one from Sphinx Tenna, who said "My nose is the only nose that knows. Don't try to use the long nose of any other suspicious character!", and that joke is neither mean/aggressive nor trying to make Spamton's nose seem smaller; the size of the nose isn't even the subject of the joke, unlike Tenna's insult towards the Spamcannon's nose. Right before this, Sphinx Tenna also openly drops the nose, thus referencing it being detachable, and casually jokes about it ("Oh no, my nose fell asleep!"); this is an unmissable part of the story, which Tenna had creative control over, and I feel like he wouldn't be including that if he was insecure about his nose.
However, Spamton is likely insecure about his nose, specifically in that he thinks it's too long (it's longer than the noses of other Addisons), given him negatively describing himself as a "long-nosed doll", so while it's commonly assumed that Tenna made the Spamcannon's nose smaller after Spamton left (or even created the Spamcannon to mock Spamton, when it was actually a prop for Spamton's show), it's actually possible that Spamton himself asked for the nose to be smaller/made it smaller when he was still around. If the short nose is the original form, it would also make sense why it's still short in Chapter 5, even though Tenna is no longer trying to pretend like he hates Spamton; he's respecting Spamton's vision/his wish to keep the nose short.
There's also a line from Ramb where he references Tenna's nose as "that nose of his", with his tone implying that he sees it as a negative trait, thus further adding to the idea that Spamton's long nose (and by extension, Tenna's copy of the nose) is a "flaw".
So, the nose is a trait others see as a flaw, but Tenna personally finds desirable, and he likely envied it before he got it himself, which is why he copied it, and while I can see him envying that Spamton has the nose naturally, I don't think he's all that insecure about his copy.
(Also, doesn't the idea of Tenna trying to cope with his insecurities by making others look worse come from people (wrongly) assuming he made the Spamcannon's nose shorter to make his own seem bigger? I don't recall any other thing he did that could be read that way. Just a couple instances of him saying he's better, like the line from his battle where he said "I'm not like him! I'm better! I swear I'm better!".)
The benefactor being some sort of higher power, knowing to contact Spamton in the first place, and then also knowing to call him right after he signed the contract implies that they were watching him outside of their direct communications, but I'm curious about the extent of it. Were they always watching (either being omniscient or actively choosing to track Spamton to make sure he didn't share his secret), or were there times where they didn't watch? Because it's kinda funny to imagine that they were secretly watching every time Spamton was fucking his boyfriend. The price they had to pay to maintain control of their puppet.
I like that we finally have enough info to pretty conclusively say that Mike, FRIEND and the benefactor are, in fact, three separate characters (well, FRIEND isn't much of a character and is more of a tool... one could call it a device).
FRIENDs being directly described as "not very smart" and just being a hunting pack that goes after protein confirms that neither Mike nor the benefactor are FRIEND; the former is definitely capable of complex thought, considering what Tenna said in the Chapter 5 cutscene, and the benefactor is implied to be capable of complex thought (and also to not be merely another Darkner) by them speaking to Spamton on the phone and helping him become successful, them calling him right after he signed the contract, and their treatment of him having parallels to the player's treatment of Noelle on the Weird Route.
And Mike isn't the benefactor because it just wouldn't make sense with his characterization and his relationships with Spamton and Tenna. If he was the benefactor and didn't want them to sign the contract, he would've pushed back against it more firmly, and if he did want them to sign it and face the consequences, he wouldn't have intervened at all and would've just allowed them to walk right into the trap. Just saying he had a "bad feeling" about it would've been pointless, and in general, putting too much effort into pretending to be the pair's friend would've also been pointless, considering how easily Spamton gets attached and how vulnerable to manipulation he is, while Tenna is of no use to the benefactor, so there's no reason for them to have ever spoken to him (and them being Mike would've meant they did). The benefactor is also established to communicate through the phone, while Mike is just generally present somewhere nearby and can be spoken to openly (though only Tenna does it).
Spamton is also shown to miss Mike and not be angry at him, while that prize description about "turning him into a living puppet and enslaving him with visions of glory", which is likely referencing his benefactor, shows him being angry at anyone who would do that to him, which presumably includes the person who did do that to him.
I've not been posting any of it, but I'm having a bit of an OCs/original world moment. Mostly picking some names and having ideas for worldbuilding right now (history and magical creatures).
Maybe it's my mind playing tricks on me, but I'm scared that we're gonna be queer baited with Spamton and Tenna never seeing each other again since Toby said that the next chapter is gonna be shorter then the previous games.
I mean, it would be weird to just drop their storyline, considering how it ties into the overall themes and how it has continued beyond their introductions. There's no reason to be giving Tenna more character development specifically in relation to his past with Spamton, or having him keep the Spamcannon (now with the eyes uncensored), or giving us a new item referencing their past together (TrueTie) in Chapter 5 if it's not gonna go anywhere. Though from reading the newsletter, it seems like whatever we're gonna get of them won't take up much screen time, and I would guess it's gonna happen at the end of the game, since Chapter 6 is gonna have a more narrow focus (and many things still won't be touched on). A Spamtenna reunion is probably ending material, after the main storyline has been dealt with.
I'm also not aware of a single instance in which Toby had queerbaited in the past; he just doesn't really do that kind of thing. He writes queer characters respectfully and doesn't use potential queer representation as a marketing gimmick. The Spamtenna hints he has included in the music he wrote and the way he has talked about their relationship also very much gives me the impression that he likes both of them.
"NEO" in the sense that it's a new (and improved) analysis about why I believe both of them are trans men, and "NEO" in the sense of the robot body designed by Mettaton, which is relevant.
To start off, I'll go over some things that establish Spamton as trans that aren't shared with Tenna (and one that could apply to Tenna a little bit). In Spamton's case, the trans manhood is at least heavily implied, if not explicit.
He's a Darkner of the same type as the Addisons, who are mostly androgynous in appearance, who have a gender-neutral name, and who are referred to with gender-neutral terms like "ads" or "shopkeepers"; there is one instance of them collectively being called "guys", but this term is also used in a gender-neutral way to refer to groups of people. Spamton, on the other hand, has a masculine name, as indicated by the suffix "-ton"; names with this suffix, both older ones deriving from place names and newer invented ones, are predominantly masculine. He's the only Darkner of this type to have a unique name and may have chosen it himself. He also refers to himself and is referred to by others with explicitly masculine terms, such as "man", "salesman", "mailman" or "mail guy". (While this was changed in the final version, it's interesting that the concept art of an Addison depicted them as feminine.)
So far, the only single Addison to be referred to with a third person pronoun was the pink one getting called "they"; given the Addisons' androgynous appearances and mostly gender-neutral terminology, it's not unlikely that all of them are they/them, similarly to how the ghosts start out as they/them. If so, Spamton going by he/him makes his transition explicit rather than heavily implied.
The dress on the Mannequin resembles the blue dress from Undertale, which is connected to trans characters. In Undertale, it's originally worn by Mettaton, a gender non-conforming trans man who is comfortable with feminine elements in his presentation, and he later gifts it to a lioness who wanted to try it on and is implied to have discovered her gender through doing so; in Deltarune, the same character is depicted in a dress and is referred to with the feminine term "waitress".
In Deltarune, the blue dress continues to have connections to trans characters, but in a different way. The dress is permanently attached to the Mannequin, meaning it's both impossible to wear and permanently stuck to an outdated image of Spamton, resembling his original look with white hair. Rather than representing freedom and gender euphoria, it represents the lack of those things.
For Spamton, the dress doesn't fit his desired gender presentation, and combined with the Mannequin it's attached to being a kind of doll, which also resembles his pre-transition look, it makes the overall item highly undesirable for him; "(The LoadedDisk squirmed and won't fit!)", with an exclamation point for emphasis. Meanwhile, Ralsei, who is implied to be transfeminine, calls the dress cute, but can't try it on and get gender euphoria from it due to it being attached to the Mannequin. Unwanted femininity is forced upon one and wanted femininity is denied to the other. The only character who can equip the Mannequin is Kris, whose autonomy is limited due to the player's control of them, but who is also non-binary, maintaining the item's connection to trans characters.
Spamton also creates pipis, which are eggs, as confirmed by himself through the line "WHAT ARE MY [Eggs] GOING TO DO!?". They're also referred to as "pipis_egg" in the game files, the ExecBuffet has blue "caviar" implied to be made out of them (and caviar is made of fish eggs), and they've been depicted in a bird's nest outside of the game. The one Tenna is keeping is implied to be his and Spamton's child by Spamton's Valentine's card that's addressed to Tenna ("I THOUGHT WE HAD SOMETHING!!! I THOUGHT WE HAD A [Kids!] I THOUGHT WE HAD A [Set!]"), as well as by Tenna making Small Mike sing lullabies to the cupboard she's in, like one would do for a child.
In his response to one of the Q&A questions, Spamton said that "ONLY [friend like me]" can call pipis "eggs". Only those he trusts get to know that pipis are eggs, like his partner Tenna, who references a pipis as an egg in his intro, and Kris on the Normal Route after they've helped him become NEO; meanwhile, on the Weird Route, he never calls them eggs, and their battle description calls them "clams" instead, despite neither their in-game nor outside depictions looking like clams.
Given what we've learned about FRIENDs hunting protein, the literal reason why he obscures that pipis are eggs is likely to protect himself (and the eggs) from being hunted. Allegorically, though, this also works as him trying to be stealth for his safety and thus wanting to hide that he produces eggs, something that's done by females in most species, including birds, which he and his eggs have the strongest resemblance to, considering the nest and the pipis child's tweeting noises if she's picked up by the player. (Spamton's current look also resembles Swatch, who is a bird, and his long nose arguably resembles a beak).
The pipis child appears to be different than other pipis, and Spamton and Tenna might've created her together, meaning she's Tenna's egg too (and hiding his egg to keep himself safe can have the same trans subtext for him as for Spamton). There are parallels to Noelle's blog post about the "incompatible pet" error in Cat Petterz 2 and her punishing pets to prevent them from falling in love and throwing away eggs; spam emails and a CRT TV aren't "compatible", and Spamton and Tenna got punished and separated, but they made an egg child, and they have to keep her hidden to protect her from harm. Also, the pipis gifted to Noelle through email was a glitched multiplying egg pet, which is another connection. (As a side note, both the Spamton plush and the Tenna plush have a pipis inside them.)
Now I will talk about why I believe both Spamton and Tenna are trans.
As I've clearly established Spamton being a trans man, that alone makes it fairly likely that Tenna is trans as well. They are "intentionally similar characters who mutually enhance each other", in Toby's own words, and he compared them to Spy vs. Spy. Their dynamic isn't like that of the spies, so he must've been comparing the degree of similarity between the two characters in each pair, and the spies' only differences are their colors and which country they're from. Having a shared trans identity and bonding over it would make sense for Spamton and Tenna. We also know both of them have made changes to their bodies, with Spamton dyeing his hair black, while Tenna got himself a long nose (notably, a trait copied from Spamton); while neither of these changes are related to gender presentation, they can relate to the characters' transitions allegorically.
Both Spamton and Tenna have connections and parallels to Mettaton, who is canonically a trans man, and whose transition is even more explicit than Spamton's (at least in Undertale).
I'll start with something simple and immediately apparent: the couple's matching suits are one of Mettaton's outfits in Undertale. All three are also TV stars with loud personas. According to the contract Spamton and Tenna signed, Spamton is a TV host (and he implicitly references himself as such in his miniboss battle), and he has the skills for it thanks to Tenna's advice, as evident in the way he talks throughout Chapter 2, which is more reminiscent of a TV host than a salesperson like the Addisons. The description of the TrueTie also refers to Spamton as a "forgotten TV star" rather than a salesman.
There are some other similarities, such as Spamton being a humanoid character with white skin and black hair whose name ends in "ton", and Tenna's show having similar elements to Mettaton's. All of their battles double as performances (being a bit more subtle in Spamton's case, since he's not literally on stage). Mettaton EX had hoped to leave the Underground at the end of his battle, while Spamton NEO had hoped to leave the Dark World, and both Mettaton EX and Tenna lose their arms in the end regardless of whether the player was Fighting or Acting. If defeated by Fighting, Spamton NEO will also claim he's becoming "SPAMTON [EX]".
Although both Mettaton in Undertale and Spamton and Tenna in Deltarune battle the protagonists, neither truly wish to cause them harm. Mettaton liked humans and wanted to entertain them, and his "killer robot" persona was an act that Alphys asked him to perform; his NEO form, despite supposedly being designed for killing, doesn't even have any attacks and is killed with a single hit. Spamton and Tenna didn't really want to hurt the Fun Gang either, only using force as a last resort.
Tenna wanted to entertain his Lightner owners, both because he felt attached to them and because his survival depended on being useful; he was also tasked by Kris to keep the party busy until the Knight showed up. His battle was a last resort to stall and keep the party around longer, as the Knight still hadn't showed up, and he also didn't want to get thrown away and die. Normally, he's shown to be averse to violence and avoids using physical force even in situations where it would be understandable, like when a bunch of Pippinses steal his belongings in the Bonus Zone. While the Sword Route is reminiscent of the Weird Route and requires violence, when Tenna remade it into The Legend of Tenna, he made it more akin to the Normal Route, where it's possible to either Fight or Act, and Fighting also doesn't kill the enemy.
Spamton is strongly associated with healing; he used to sell a great healing item (S.Potion) and now sells an expired version of it (S.Poison) as it's the best he can offer due to his circumstances, and he will openly offer to heal the party in battle through the HealDeal and FriedPipis Acts and "press F1 for help", which he voluntarily informs Kris of. In Chapter 5, an angel Spamton may appear alongside an angel Ralsei when Ralsei's "ReviveSong" spell is used, with the chance increasing if the Dealmaker is equipped on Ralsei. The PuppetScarf, the item that's obtained through violence against him (outright killing him on the Weird Route) and decreases magic, is described as being "For those that abandon healing". He only fights as a last resort, and he only enables or encourages violence once Kris has already been violent and he believes it's what they want, and thus it's what he can give them in exchange for his freedom. Even on the Weird Route, he only gets into a fight to prevent Kris from sealing the Dark Fountain and thus causing him harm, and he still heals them during the battle. Despite his verbal threats, he doesn't really want to kill anyone.
Like Undertale's Mettaton, Spamton was a nobody, known by just a handful of people and only dreaming of stardom, until someone helped him become successful, as well as promising him a new robot body that represented a path to freedom; in Mettaton's case, he was getting genuine help from a friend, while in Spamton's case, someone was giving him false promises to take advantage of him and turn him into a puppet. The description of the socks prize from the Sweepstakes said "HAVE YOU EVER WANTED TO MAKE ME INTO YOUR [living puppet] AND [enslave me] WITH [visions of glory]?", and I believe this is what it's referencing; the phrasing is pretty specific and doesn't really have anything to do with the socks, but fits perfectly with this theory.
This is where I finally talk about NEO, as well as the themes of freedom and autonomy.
Given Swatch's open admission that he once considered Spamton a "valued customer", we can be sure that when he says Spamton found out about the robot "somehow", this isn't him pretending like he wasn't the one to tell Spamton out of embarrassment over a perceived mistake; he genuinely doesn't know who told Spamton. I believe it was Spamton's benefactor, and that they were the person who told him NEO was particularly powerful and could set him free; the Shadow Crystal inside it likely helped make it sound more believable. Spamton NEO also shows that Spamton enjoyed having the body itself, which is another reason why it would be appealing.
As to why his benefactor would do this, remember that NEO doesn't actually work as promised, and remember its strings; I think they had intended to let him become physically stronger once he was obedient enough, like how the Thorn Ring is the culmination of Noelle's power on the Weird Route and lets her cast Snowgrave at the player's command. They may have similarly intended to coerce Spamton into committing an act of extreme violence, perhaps also against someone close to him, which would've broken him psychologically the same way casting Snowgrave on Berdly breaks Noelle.
(After his downfall and after recognizing that his benefactor wasn't a real ally, Spamton still clung to the promise of NEO, because he needed something to believe in to keep him going all those years, until he finally had something else to live for: helping the Fun Gang.)
Spamton's desire to become NEO and fly to freedom parallels Noelle's desire to grow wings and fly away, especially given their shared angelic imagery; in Noelle's case, the idea is more metaphorical and has suicidal implications, while in Spamton's case, it's more literal. There is also a parallel between the player on the Weird Route and Spamton's benefactor being abusive and controlling towards Noelle and Spamton and leading them towards their doom, yet convincing them that they're benefiting from it. Meanwhile, Noelle and Spamton's relationships with Susie (on the Normal Route, where they spend more time together) and Tenna, respectively, are/were saving them and helping them become truly strong, free and fulfilled.
I believe that, back when Spamton was successful, using NEO to escape the Dark World, or at least get a glimpse of the Light World, was the original goal he was working towards, until he met Tenna. Similarly to how Noelle no longer wants to "leave" thanks to Susie's positive impact on her life, Spamton's priority became staying together with Tenna; as long as Tenna was with him, he would be happy. He would've been fine with staying in TV World and just being a TV host there, but he and Tenna had another dream.
The last line here is likely referring to Spamton, I've been told that the Japanese version actually says as such, so only the lines about technology and "making it big" are relevant here. I believe he's referring to the robot body designed by Mettaton.
It would make sense for him to be referencing an already established element, especially one that is technology and which Spamton talked about as something that would make him "big" (and set him free). Both Spamton NEO's dialogue on the Normal Route and Tenna's Chapter 5 cutscene emphasize the idea of being big together, and in Spamton's case, specifically becoming big together through using the robot body. Tenna has lines in which he uses the term "NEO", specifically in all caps, which suggest that he knows at least some information about the robot, which must've come from Spamton, since he didn't have a mysterious benefactor telling him things, and he has likely never been to the mansion.
Unless the file for NEO was specifically sent out through spam emails at some point - which is highly unlikely, I doubt there's even a second copy of it - there's no reason why Spamton should be able to interact with it or possess it, and yet he can, so it's not much of a stretch to believe Tenna could use it too. We know at least some forms of magic are skills that can be learned, like healing; we've also seen Darkners turn into items unrelated to their purpose, like Spamton transforming into his glasses or Jevil transforming into a scythe, and it's possible this can be learned. Tenna's specific wording makes me think that's exactly what the plan was: Spamton was going to teach him how to transform in a way that allowed him to "plug in" and "use technology" to "make it big". This was going to happen after they had signed their contract, but they were interrupted.
Since Spamton learned of NEO through his benefactor, if Tenna knew this, I think this may have been why he thought picking up the phone was his chance to become a big shot: he thought the person on the phone was going to help both of them become NEO. I also believe he had a delayed reaction and didn't realize that Spamton had panicked until after he had picked up the phone. The phone being undamaged in any way, but its handset being on the floor, implies that Tenna dropped it as well and likely hasn't touched it since; therefore, I think it's likely that the phone has always been unplugged, and noticing this may have been what prompted Tenna to realize that something terrible was happening, just as Mike had suspected and tried to warn them about.
All versions of the Spamton NEO battle reference Tenna in some way. Notably, if he's defeated by snapping his wires and the background changes to his painting of the Light World sky as he celebrates seemingly being close to freedom, the track "A Real Boy!" doesn't use his individual leitmotif, but rather his and Tenna's shared leitmotif, "HEY EVERY !". They dreamed of using the robot body to become so big they would see past the dark and look into "heaven" together. And aside from being a reference to Pinocchio, Spamton's wish to become a "real boy" is reminiscent of trans men's desire to be recognized as their gender, adding to the transmasculine coding of NEO and becoming free through obtaining it.
Considering the existence of Mettaton NEO in Undertale, Deltarune's Mettaton likely called his dream body "NEO" as well, but I find it interesting that it's only referred to that way by Spamton and in the context of the Spamton NEO battle (and Tenna's use of the term "NEO" references it implicitly). Although Swatch helped Mettaton create the robot and greatly values it, he never refers to it by a name outside of just calling it a robot, and the dialogue prompt in his shop also just calls it a robot. It seems that the only people who refer to it as "NEO" are those to whom it represents freedom. For Mettaton, freedom meant transitioning to the robot body and living that way; for Spamton and Tenna, it meant using the body to escape the Dark World, or at least get a glimpse of "heaven", though since Spamton actually got to possess NEO for a time, we know that he also experienced euphoria from having the body itself.
(The only use of the term "NEO" that I can recall outside of references to the robot is Jevil's line "THE TRUE AND NEO CHAOS!". Jevil believes he's already free, and his use of the term further connects it to the idea of freedom. To "become NEO" is to become free, and he likely picked up the term through Spamton using it in reference to the robot, since they knew each other.)
It's important to note the transmasculine coding inherent to the robot. It was created as a visual representation of a trans man's dream body, and of the two men who saw it as their ticket to freedom, at least one is definitely trans; it's not a stretch to believe that the other is likely trans too. This wouldn't even be Tenna's only connection to Mettaton's transition; if the TV is given to Mettaton in Chapter 4, he will use it to watch a music video that causes an "awakening" in him, most likely related to his transition, since that's the major focus of his story. To be more specific, Mettaton had already dreamed of becoming a male robot and a star, but he had given up on it in the past, as it seemed unattainable (which created the Shadow Crystal found inside NEO), but seeing the music video reawakens that dream in him; I would guess someone in the music video might resemble his desired look.
I'll note that I believe the TV likely isn't required for Mettaton's transition to happen; given his cousin's inclusion in Chapter 5 and his preexisting knowledge of what he wants, he probably just needs her to tell him about the Dark World and bring him there. But I still find it interesting that giving him the TV on the specific day he asked for entertainment connects the TV, and thus Tenna, to transmasculinity by reminding a trans man of his transition dream.
Spamton's defiance of his assigned purpose isn't limited to a desire to escape the Dark World. As an Addison, he's supposed to be a scammer who's unconcerned about his products being useless or even harmful to people, but S.Potion and B.ShowBowtie show that he used to sell good products when he was able to; he genuinely wanted to give his customers a good deal. He's generally shown to care a lot about others through the depth of his attachments and his usage of healing magic. Nothing about his purpose suggests he should know healing magic, but it has been established as a trainable skill, implying that he actively chose to learn it and get good at it; S.Potion shows that his interest in healing dates back to at least his successful era, if not earlier. As an ad, Spamton's job is to sell things, but he wanted to be a TV host instead and learned performance skills; he likely couldn't abandon his purpose entirely, but he wanted to make it secondary to being a TV host.
While it's easy to see why Spamton doesn't want to be stuck as spam mail - something unwanted, unloved and disposable by design - it's interesting that Tenna wanted to escape his purpose too, and he was actively asking Spamton to share his secret so they could escape together.
He was once a beloved household TV, the whole family would gather to watch it... but this wasn't fulfilling for him. He tells the Lightners he was happy just being watched, but deep down he knows it's not true; he has simply given up on the idea that he could be anything more than an object, so he pretends to be one, and just being watched is what a TV is "supposed" to want and "supposed" to be content with. When speaking to Ralsei at the end of Chapter 3, he only tepidly pushed back on the idea of accepting death, but not on the fundamental idea that he's just an object and it would be acceptable to throw him away if he became obsolete. He doesn't believe he has worth as a person and thinks he has to be useful to justify his existence, and he's used to being miserable and settling for bad options, so all he asked of the Lightners was to let him survive by giving him away to someone.
In Chapter 5, as he's starting to realize that staying in Castle Town may be an option (and thus his options are "new owner or Castle Town" and not "new owner or death"), he's no longer so desperate, or even that enthusiastic, about the idea of just being someone's TV again. Having a new owner wouldn't fix his loneliness, as he can't communicate or form real bonds with Lightners in the Light World and would be separated from all the Darkners he knows, and it would mean losing the greater autonomy he has when a Dark Fountain is open, as well as put him at risk of being thrown away again. If Toriel could throw him away after so many years despite him still being functional, what's stopping the new Lightner from eventually doing the same?
He wishes to be more than just an object, even if it's an appreciated one, because being an object isn't fulfilling, on top of being a precarious existence. He wants to travel, and he wants to have his own family. He's still keeping the pipis, he's still keeping the nose he copied from Spamton and still wearing the matching suit, and he has outright stated that he will never forget Spamton. Whether he's kept in Castle Town or given away, this won't change. Their time together was the best period of Tenna's life, where he got to be fully himself and was deeply beloved by the only person who truly understood him. He will never forget their dream, and he will always carry its shards; if they're reunited, those shards can be put back together, and they can live their dream of lifelong partnership.
Spam emails and a CRT TV aren't really "supposed" to interact at all, but they became very close and wanted to stay together forever, and it's notable that being together inspired them to become a matching pair, changing their appearances towards the same end goal, like how meeting another trans person, particularly one transitioning in the same direction, can give someone more confidence to pursue their transition. While there are other trans people around on a literal level, these two being the only ones to understand each other can work as an allegory for how it can be hard to find another trans person, since trans people are a small percentage of the population; there's also the additional layer of them being autistic (as I've talked about in another lengthy analysis), which is another reason why it's hard for them to find someone who gets them.
It meant a lot for both of them to meet another autistic trans man, who also knew the particular struggles and trauma of being a Darkner and yearned for real autonomy, and thus understood them in a way no one else has before or since. With their shared desire to escape the confines of their assigned roles, and them actually planning to do that through the same transmasculine-coded robot body, them being a T4T couple would make a lot of sense.
One of the most plainly wrong takes about Spamton and Tenna (yet which I have seen several times) is the idea that these are guys who either haven't considered or even outright refuse to consider that they might be the problem and choose to blame everyone else instead.
One of the first lines in Spamton's introductory monologue, in which he's projecting onto Kris, is "All your friends, abandoned you for the slime you are?". He insults himself and frames the abandonment as the result of something just being wrong with him that made him unworthy of care. Yes, he's (rightfully!) angry at those he considered his friends for abandoning him (the Addisons and Swatch are assholes for doing that, and it hurt him both emotionally and materially); he's also angry at Tenna, who he thought understood and adored him, but seemingly ended up throwing him away just like everyone else. But he ultimately believes that it was his own fault, somehow. That he wasn't good enough. That he's unlovable. That no matter how much he loves other people and how much he gives them, he will never be good enough and will always end up being thrown away. And that this is more because of his own innate unworthiness than because of a flaw in those other people.
On the Weird Route, in his battle monologue, he's angry at Kris for trying to seal the Dark Fountain, which he perceives as a betrayal after he had given them the Thorn Ring to enable them to do what they wanted. But he's ultimately angry at himself. He was "too honest, too trusting" and "should have known [they] would have used [his] ring for evil... oh, right. that's why [he] sold it to [them]". He's angry at himself for naively believing that Kris would let him keep his current position, which is already less than what he had hoped NEO would give him (he's more powerful now, but still stuck in the Dark World). Why would they care about him? They just went around freezing everyone in the city, and all those people are seen as having more worth than him, so why would they be any kinder to him? Of course they wouldn't, and he thinks he's stupid and naive for ever believing otherwise.
Through projecting onto Kris, he also reveals that he's angry at himself for choosing to trust Tenna and sign the contract ("you lost it when you tried to see too far..."), thus blaming himself for his current situation, and he's resentful of himself for ever hoping anyone would help him out of it ("you make me sick! muttering your lost friends' names at the bottom of a dumpster! no one's gonna help you!!!").
Now, as for Tenna, anytime he says something is not his fault, it's a weak attempt at denial - he does actually believe it to be his fault. He blames himself for the Dreemurrs no longer watching TV and thus planning to throw him away; their loss of interest in the TV is outside of his control, in the Light World the TV is just an object with no autonomy that is completely at its owners' mercy, but he blames himself and believes he wasn't good enough, and this is why they're throwing him away. He was trying to become useful again, believing that to be the only way to justify his continued survival, because he doesn't believe he has worth outside of his usefulness; he never brought up his dream of co-hosting and starting a family with Spamton. In response to Ralsei telling him to accept being thrown away, he didn't challenge the idea that his worth is tied to his purpose, just tepidly tried to push back on the idea of accepting death. He even tried to lean on his usefulness to Lightners to justify why his Darkner employees should stick around, and when this didn't work, he had nothing else to say for himself other than beg them to come back and help him.
While he's angry at Spamton for running away and supposedly "ripping him off", he takes full responsibility for the contract, which was what caused Spamton's disappearance. He blames himself for something terrible happening to Spamton, believing he "made" Spamton sign the contract (and then failed to help him afterwards); in truth, Spamton signed willingly (he wanted to sign it), but Tenna just can't bring himself to blame Spamton for his own doom. He believes he ruined Spamton's life, if not ending it entirely, and killed his own dream of lifelong partnership with Spamton in the process. Look at the shattered mirror, but untouched posters in the Z-Rank room; he couldn't stand to look at his own reflection. His anger at Spamton is an expression of grief, irrational anger towards a missing or dead loved one for "leaving" him, and his claims about Spamton "ripping him off" are denial that Spamton went missing, because believing he was tricked and left behind is slightly less painful than believing he doomed someone who loved him. As of the Chapter 5 cutscene, he has even dropped the "ripping off" claim; the one thing he's truly upset about is Spamton being gone.
Both Spamton and Tenna fundamentally blame themselves for their situations, even if they may be angry at other people as well.
Battat has a generally obsessive and possessive personality. There's his implied extensive theorizing about Mike, considering the corkboard and how expressive he was when talking about his theories. He also has a strong commitment to a specific idea of Mike, with him being very dedicated to portraying the role himself, as well as giving orders to the other two about how to play Mike, and he's possessive of the role, insisting on being the "real" Mike until his costume got taken off, and deciding to take the role even when Tenna asked for Pluey instead. As another example of possessiveness, he claims the "Air Waves motif" (or the "Battat motif") as belonging to the Mike trio, and he complains about it being "misused".
He claims that he's performing the role of Mike for Tenna, but given his active ignoring of Tenna's wishes (like ignoring his request to see Pluey), this actually seems to be more for himself. His obsession with Mike may be a hyperfixation/special interest, and playing Mike and theorizing about Mike is indulging said fixation. Hyperfixations and special interests are pretty intense and can take up a substantial portion of a person's life and identity. And despite them often being treated synonymously with extensive accurate knowledge of the subject, it is actually possible to be fixated on something while being very wrong about it. Battat isn't even necessarily fixated on Mike, but rather his own idea of Mike; he has never actually met Mike, so he got to simply imagine whatever he wanted from the start based on limited information provided by Tenna. And he got very invested in his idea of Mike and Mike's dynamic with Tenna.
By nature of Mike seemingly only existing in relation to Tenna, at least as far as Battat is concerned, it makes sense that Tenna would become part of this fixation, or even become a fixation in his own right. But these two fixations are very alike in that Battat is fixated on his own ideas of who Mike and Tenna are, rather than really knowing either of them. Despite having been consistently interacting with Tenna for a while now, he still doesn't really understand Tenna and even outright refuses to listen to him and internalize new information; his dialogue will be the same regardless of which cutscene played in Chapter 5. He has a very firm idea of what Mike is like, what Tenna is like, and how their dynamic is supposed to be: he's the best Mike, he's Tenna's favorite, and he knows what Tenna wants.
...Which actually makes it really confusing and frustrating for him to interact with Tenna - the "source material", so to speak.
On one hand, it's letting him indulge in roleplay as Mike, acting out the caregiver role he believes Mike serves for Tenna. But on the other hand, it doesn't go the way he wants. The real Tenna isn't like the imaginary version he's fixated on and wants to interact with, and the real Tenna challenges his beliefs about Mike. Not only is Battat not good at being Mike specifically, but Tenna just generally doesn't like him and prefers Pluey; Tenna's wishes are not what Battat believes or wants them to be. Even if Tenna goes along with Small Mike showing up instead of Pluey, he makes it clear that he's unhappy with this and that he wanted to see Pluey instead. And to Battat, this is wrong! Tenna is supposed to be happy!
So, despite being fixated on Tenna, Battat genuinely doesn't like talking to him... and with that in mind, him stealing the statue makes sense. It's a version of Tenna that lacks personhood. It's just an image of Tenna, and Battat can project whatever he wants onto it. The statue is always smiling, it will never complain. Like Tenna plays pretend by imagining that the impostor trio are really Mike, Battat may want to play pretend with the statue and use it to imagine a version of Tenna that's happy with his portrayal of Mike.
Given that Jongler tells him to show Kris whatever he was practicing on the statue so they (a minor) can do it and be Mike too, he clearly wasn't doing anything inappropriate - it was just something he personally doesn't want to do in front of anyone other than Jongler and Pluey. I would guess he was practicing the antenna massages, especially when we know it to be something at least two of the impostors do. So... why is he so weird and embarrassed about it, while Jongler is not?
Despite common fanon interpreting his feelings for Tenna as romantic, there's pretty strong counter-evidence to that.
Firstly, the other two Mike impersonators are strongly implied to be Battat's romantic partners, providing an example of how he behaves when he does actually have romantic feelings for someone. He's shown blushing around them in Chapter 4, and he blushes when Pluey asks to be called some kind of pet name in Chapter 5; the trio battle further added to the implication of them being a throuple. Meanwhile, he doesn't blush around Tenna or during the dialogue about the statue. He also never references Tenna's physical attractiveness, and doesn't reference his own attractiveness in relation to their dynamic either; he's obsessed with Tenna, and yet this is simply not on his mind. His fixation is not romantic in nature, just like his fixation on Mike isn't romantic either.
Secondly, there's the way he actually talks about and treats Tenna, and how he perceives Mike's dynamic with Tenna. I've talked about it before, but he talks like some kind of overbearing caregiver, and he infantilizes Tenna a number of times. He seriously believes this grown man is genuinely fooled by the costumes, like a child might be fooled by a guy in a Santa costume, and genuinely thinks all three impostors are the same person. He also theorizes about Mike being an "imaginary friend", a term generally used when talking about children, and he talks about tucking Tenna into bed and playing his bedtime programs. He perceives Tenna as very immature, even childlike, and I highly doubt this is something he would find attractive.
So... what is his deal?
While he's very fixated on Mike, he's not comfortable with being fully open about it. He was very dedicated to playing Mike and even claiming to be the "real" Mike right up until Pluey took off his costume, revealing his real identity, after which he started to deny that he has any investment in playing Mike and acted like it was purely because Tenna made the trio do it. He does admit that he has been trying to figure out Mike's identity, but doesn't admit that he actually wants to play the role, and that this is probably at least part of the motivation for his theorizing.
In the trio battle, he's the only one of the Mike impersonators to not be in costume. At first I attributed that to him being the only one who has a distinct design even without the costume and thus doesn't need it; however, the other two appearing alongside him would've clearly indicated who they are, so they didn't need the costumes either, and if they are in costumes, there's no reason for him not to be. Especially when, aside from them being a throuple, the thing that actually makes them a trio - their unifying theme - is specifically them being Mike impersonators. So it's actually really telling that Battat isn't wearing the Mike costume. He only wears it in the Mike room and doesn't feel comfortable wearing it in public.
He's insecure about his fixations. While he may engage with his fixation fairly openly when it's just the trio and/or Tenna (who is directly part of the fixation), he's not comfortable being fully open with Kris, who is not involved in any way and who he isn't close with. He also seems to avoid being too openly affectionate, even with his partners (not wanting to call Pluey by a pet name), and they're probably the people he's closest to, so it's unsurprising he'd be similarly hesitant to openly display affection towards Tenna, and probably even more hesitant to be openly affectionate to the statue, since that's weirder than being affectionate to Tenna himself. Meanwhile, Jongler doesn't think it's embarrassing, so they bring it up openly.
Considering Spamton's Weird Route lines about muttering his lost friends' names at the bottom of a dumpster, and specifically in the context of wanting help, he still misses them/feels attached to them and seems to still hold out hope that maybe they'd have some pity for him and help. He at least partially blames himself for all the abandonment he has experienced ("All your friends, abandoned you for the slime you are?"), so even if he was in the inventory and heard the Addisons admit they stopped going out with him out of jealousy, and he also knows they avoid associating with him now because he's "bad for business", he probably still hasn't accepted that they were really just that shallow; they used to help him in the past, so they can't be that bad.
He thinks he must've done something wrong and they just didn't tell him. As an autistic guy, he probably has experienced people being upset with him, but not telling him and just expecting him to intuitively pick up that they're upset and then guess why they're upset, and then getting more upset when he didn't and/or assuming he just doesn't care. He has probably replayed every interaction he could remember in his head over and over again, looking for what he might've done that upset them.
So far, him blaming himself has mostly come out through the way he talks, rather than him directly stating he thinks it was his fault, but I think he'd probably open up more directly when talking alone with Tenna. And I think Tenna could help him stop blaming himself and start moving on and accepting that the Addisons just suck. Tenna knows that Spamton cares deeply and tries his best, and that you should just talk to him if you have an issue, because he would try to resolve it. The Addisons also knew Spamton longer than Tenna, so they should've known he needs direct communication. So if Spamton really did do something wrong that bothered them this much, and they actually cared and wanted the friendship to last, they should've just told him instead of silently abandoning him.
And that's back when Spamton was successful; this is before getting into them leaving Spamton to be homeless when they could've helped him out of it, all because he was "bad for business". There's simply no excuse or justification for that, and Tenna is gonna be furious once he finds out. Especially when he spent a decade desperately wishing he could do something to help Spamton. Knowing that these assholes could've helped, but chose to turn Spamton away, would fill him with pure rage.
Spamton's nose is longer than the other Addisons' and is implied to be a "flaw" of his, but it's a feature Tenna loves, and Tenna isn't "supposed" to have a nose at all, but he coped Spamton's because of how much he liked it, so I think, whatever combination of features the Pipis Daughter ends up having (assuming she hatches at some point), she definitely needs to inherit the long nose. As a child of an inter-species couple (one out of maybe two mixed children we've seen in total), and as a Darkner who exists because her Darkner parents wanted a baby and not because she was meant to serve a purpose for Lightners, she defies rules and norms, and I think it would fit for her to inherit a trait that's non-standard in both of her parents (though she'd only be inheriting it from Spamton, since only his nose is natural).
Spamton is unique among Darkners who come from a species of very similar ones in being noticeably smaller than other members of his species. The choice to make him an Addison, despite him embodying a different type of ad (while Poppup is a separate species), is deliberately inviting a comparison between him and them, including their designs, and in doing so makes him an unusual Addison rather than a standard member of a standalone spam email Darkner species.
He's disabled on an allegorical level and always has been: the way he was created prevents him from succeeding at his purpose, which comes naturally to other Addisons. He also reads as autistic, which would make him disabled on a literal level as well. So it would make sense for his shortness (which I already noted to be unusual) to actually be a form of dwarfism, and thus another disability. With the shortness of his limbs, especially his legs, being more pronounced than the shorter torso, plus him having a slightly larger head, achondroplasia seems to fit. The way he's implied to have been treated by others, and specifically the way he appears to have been treated like a toy, is unfortunately also fitting with how little people are treated.
I really don't believe in the "Spamton shrunk" theory; as far as I've seen, it came from people taking that one line from Queen about "shrinking in the acid" completely seriously, and then taking Spamton's implication that he has been in the acid to mean that he shrunk there, even though he did not imply that at all, and in the Q&A he directly stated that he has always been shorter than other Addisons. And there's just no real evidence that he used to be taller. The Mannequin was most likely based on his appearance from before his puppet transformation (that would make more sense, and it also doesn't have the longer hair at the back, which Spamton grew more recently; the Spamcannon doesn't have it), and the Mannequin's proportions appear to be the same as his current ones.
TL;DR: I read Spamton as a little person.
Do not repost/reupload my work, but reblogs are helpful and greatly appreciated.
I've been meaning to show you some really old drawings of mine, so here.
Considering the Monster High notebook and when it appears to have been released, I'd guess these are from when I was around 9? It would've also been early into my English learning, hence the simplicity and inaccuracy of some text. The girl with the braid could be me, since I used to have long hair and wear it in a braid, but I'm not sure. Idk what the egg-like creature is, but it's kinda cute.
A couple drawings from my FNaF and MLP eras when I was around 10-12 (they overlapped); I used to trace a lot back then, but I did also have some non-traced drawings, like these ones.
Idk why I gave Foxy hair; also more wonky English. I think I used the term "out of order" here to mean "rebellious", kinda taking it too literally I guess? I don't recall if I understood the original meaning but just used it differently, or if I just didn't get it. Rainbow Sparkle was my MLP/EG OC that I told myself was a self-insert, but at one point I had an actual self-insert existing alongside her that was basically me... and I've always thought of her in third person (I paired her up with whoever was my fav (male) character, or in a couple cases YouTuber, at the time and thought I had crushes, because I didn't know what a hyperfixation was). She had rainbow hair, and you can see I partially colored the drawing there, but didn't finish it.
And here are some Warrior Cat humanizations from when I was around 12; I read a bunch of the books then (in Russian). You can tell I drew this at 12 because there's zero consideration of what warriors would realistically wear, I just drew them in random casual clothes I made up (tbf, not that weird for Ravenpaw, since he left the warriors).
(I have a lot more old drawings, but these are the ones I took pictures of. I took them a while ago, but then didn't end up posting until now.)
