![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
APPLICATION ( THE PINES ).
NAME: Pax
CONTACT:
OTHER CHARACTERS IN THE PINES: N/A
NAME: Juno Steel
CANON: The Penumbra Podcast
CANON-POINT: The very end of Peter Nureyev and the Angel of Brahma, where Peter has acted upon the opportunity to escape, even though it meant leaving Juno behind in a Martian tomb.
HISTORY:
( THE WORLD / THE FOURTH WALL COMPLEX. )
Depending on who you ask, the Penumbra is either the grandest railway this side of Nowhere, or a twice-monthly podcast series. The railway in question is overseen by the Concierge, a smooth-talking, genially-menacing framing device who informs us ( the dearest of listeners! ) of the fact that all of the stories we listen to are contained within the Penumbra. Whether the stories and their stars are aware of this fact, we’re unsure. One of these “stars” is Juno Steel, a private detective whose best trait is making the worst decisions.
Once upon a time, around 10,000+ years in the future, there was a war. We don’t know much about the war, except that it was fought and it was terrible, and it left all sorts of abandoned weapons factories around for children to explore and die horribly in. The immediate solar system has been largely terraformed, colonized and capitalized, Martians were real and are now extinct, and evidence of their kingdom is still a titillating subject, and in an office, in a city called Hyperion on the planet of Mars, there’s a private detective named Juno Steel.
The universe he knows is technologically advanced, capitalistic machine of a thing: rife with criminal enterprises that double as entertainment moguls, faux-Princes who run pharmaceutical companies built on the back of a very public drug trade, and ‘roided up sewer rabbits that’ll serve as guides provided you pay for their carrots and pornography. You’re more likely to be discriminated against for your lack of promotability, as concern over race, gender and sexuality is absolutely obsolete.
But, I digress.
Juno Steel is a detective, and he's always looking for trouble.
( PRE-SERIES / JUNO STEEL AND THE NO-GOOD TERRIBLE HORRIBLE CHILDHOOD. )
For three years, Juno lived in Halcyon Park - one of the nicer neighborhoods in the old Earth colony of Hyperion - with his mother and his little brother. Juno states that his mom “got bad”, and soon afterwards, the three of them moved to Old Town, an impoverished and crime-stricken area. Juno doesn’t know if Old Town created his mother’s problems, or if they were a part of her to begin with. Regardless, it happened, and things were no longer as nice as they once were. Juno refers to his mother as “a real piece of work”, who seems to have done her very best ( either actively, or through negligence ) to kill him. He, in turn, failed to do this seemingly very, very simple thing, and survived not only to his adolescent years but adulthood.
Following the move to Old Town, Juno met a pair of townies: Mick Mercury and Sasha Wire, with whom he became close friends with. The three of them got up to nothing but trouble, escaping domestic problems in one form or another. Juno is known to escape his home by fleeing to the sewers and hanging out with the rabbits. No, seriously. And for several years, the three of them managed to survive the danger of life in Old Town, and even managed to dream of a better life in one form or another, encouraged by Mick’s wild tales and wilder lies. And then, the three of them indirectly caused the death of Sasha’s younger sister, Annie.
They put Annie through what was more or less a hazing, put on by a pack of kids who didn’t know any better. Mick dared her to drink a disgusting concoction of alcohol at their local bar, Sasha asked that Annie prove her wit by commanding she crawl through ( apparently? ) miles of maze-like tubing at a local amusement park and Juno -- Juno came up with something to test her guts. The hazing culminated in a challenge that lead Annie to enter an old munitions factory, rumored to be full to bursting with murderous war-time robots that had been left to rust after the war. Annie never came out of the factory, and her body was never found. Her death put a strain on the trio’s friendship, without a doubt.
Sometime after that, Juno’s little brother wasn’t as lucky as he was, and their mother killed him.
The status of his mother is currently unknown, but Juno inevitably left Old Town. He went to Hyperion City and joined the local police department, and during his career there, he managed to make a name for himself - initially for winning the HCPD’s sharpshooting contest three years in a row. Later, it's suggested that either Juno did something, or something happened to put the organization at odds with him. Whether he turned his badge in, or was forced out doesn't matter. The odd years mentioned here or there in canon put his exit from the police force at around the same time a "bad falling-out" landed him at Valles Vicky's club. High calibre conversation for the discerning gentleman or lady. He racked up a debt with Vicky, and spent the next ten years paying off his debt.
Around ten years after leaving the HCPD, he acquired a P.I. license, an office in Hyperion and a badass secretary named Rita, and kickstarted his detective career. A loose summary of his early days include: repaying a massive debt that he owed to Valles Vicky, after asking her for an unknown favor, assisting a barista-who-would-become-a-Prince while said barista was on house arrest and rescuing the son of a criminal magnate and entertainment tycoon from a television stunt gone terribly awry.
( ONE / JUNO STEEL AND THE CASE OF THE MURDEROUS MASK. )
Juno's name is found along with a threatening message, written on a wall of a murder scene. He investigates the murder of Croesus Kanagawa, the head of a criminal syndicate and owner of the entertainment industry on Mars, after Croesus is killed by a supposedly-cursed death mask belonging to an ancient Martian. He works alongside Dark Matters agent Rex Glass ( Dark Matters is basically the infinitely shadier version of the Space F.B.I. ), who turns out to be a master thief in it to steal the death mask for his client. The thief's actual name is Peter Nureyev, and he makes Juno's heart and stomach do the flippy-floppies long, long after the thief makes his daring escape -- with the death mask, I should say.
( TWO / JUNO STEEL AND THE PRINCE OF MARS. )
Over the next few months, several more Martian artifacts are stolen and people die. Juno takes on another case - the Prince of Mars, an old friend of his, is trying to locate his missing husband. He suspects that he's being cheated on, but while Juno is investigating, the Prince is framed for murder, and the tone of the investigation turns from a missing person's case to a "get the Prince off of a murder charge" case. The Prince had discovered a Martian "pill" (an artifact, to be fair), which Juno acquires and later consumes - in order to keep it from falling into the hands of the one who orchestrated the murder of the Prince's husband, and presumably the person who has been stealing all the Martian artifacts. The pill gives him telepathic powers, at the low, low cost of bleeding out of his face holes when he hears everyone’s voices all at once in his brainspace.
( INTERLUDE / JUNO STEEL AND THE DAY THAT WOULDN’T DIE. )
( He also has a No Good Terrible Bad Day, where he and Mick and Sasha reunite after several years apart. And then Dark Matters, the organization Sasha works for, stages a test specifically tailored for her, where she has to relive the day her sister died from start to finish. Juno and Mick are along for the ride, and the three of them initially think it's all a terrible #REVENGENCE plot from Annie-Beyond-The-Grave. Sasha keeps her cool. Mick is revealed to be very wise. Juno is a wreck. It's a horrible, awful experience for everyone involved, to be completely honest. )
( THREE / JUNO STEEL AND THE MIDNIGHT FOX. )
When he’s unable to convince the police to look into the mess of interwoven cases and deaths, Juno turns to an acquaintance - Valles Vicky - for help. He winds up having to help her evade her murderous ex-lover, while keeping her black market business dealings a secret from her wife and young son. She scolds him for not hanging on to things that are really, really worth it - because in lives like theirs, those chances are few and far between. She tells Juno that she'll have her contact reach out, and that they're square. The contact turns out to be Peter Nureyev, surprise! Peter swings into Juno's life on a beam of starlight ( actual, canon words. ) and informs him that there is no time to waste. Time to go!
( FOUR / JUNO STEEL AND THE TRAIN FROM NOWHERE. )
Peter drives Juno out into the Martian desert and explains to him that the woman at the head of all the theft and murder is a xenoarchaeologist named Miasma. Miasma has hired him to obtain another Martian artifact from a perpetually-moving train-slash-vault. It's called the Utgard Express. Peter doesn't want her to have this artifact, as it’s something highly destructive and he convinces Juno to help him steal it, with the intention of destroying it. Spoilers, they pull off the heist. There's a very complex card game where secrets are anted up instead of money, and a car chase. Juno and Peter nearly complete their escape, with the artifact in hand, when Miasma - who knew that Peter would double-cross her - rolls up and kidnaps the two of them at gunpoint and brings them to an old Martian tomb.
( FIVE / PETER NUREYEV AND THE ANGEL OF BRAHMA. )
At the tomb, she puts Peter and Juno through hell!!! Juno, she guides through a series of mind-reading tests, using Peter's mind as his focus. Turns out, that the "pill" ( read: irreplaceable Martian artifact ) that he consumed was something that she really, really wanted and now cannot obtain. Well, not immediately. By forcing him to "flex" the telepathy-muscle he's grown, she enlarges what turns out to be a whole, nasty tumor - to the point where she'll br able to genetically replicate it. There is excessive torture involved, for both Juno and Peter. Juno deep-dives into Peter's mind, and is exposed to the whole of his past - where he came from, who he is, what motivates him, all the little facts and truths that he had been avoiding looking for, up until that point.
This venture culminates in Juno being too weak and disoriented to leave when Peter finds them an opportunity to do so, and Peter is forced to leave him behind. He'll wake up at the local hospital in Wayward Pines, somewhere in between this moment and the next, disoriented and disheveled and definitely wondering what the HELL just happened. It's probably for the best that he's ended up there, goodness gracious!
WHAT ARE YOUR CHARACTER'S STRENGTHS?:
Juno Steel is not a selfless man, but he has enough of a mind for justice to act selflessly. Throughout the series, he’s shown to take on the Herculean responsibilities associated with a hard life in Hyperion, if not life as a whole on Mars. He’s concerned for the well being of people, especially when their deaths could have been prevented if he had put clues together quicker, or committed to making a move sooner. He doesn’t consider himself a good man, and he’s certainly not concerned with being good - his only concern is doing good, and that if that means coming down cold and hard on someone else, he does, he has and he will.
As a detective, he’s got a skillset appropriate for his job - because, in the end, it “pays to know a whole lot of junk about a whole lot of junk”. Juno is observant, analytical, willful and decent at reading people. His research skills tend to fall on the more traditional side of doing physical legwork, talking with clients and persons of interest, performing stakeouts, taking written notes, and weaseling his way in and out of his network of contacts - ranging from the co-head of a massive pharmaceutical company, to the mad-genius heir to a crime family and entertainment industry mogul, to a former-fence-become-loving-parent. A lot of Juno’s contacts are criminals - but that’s just part and parcel of who people are in Hyperion City.
He's sour and bitter, but he's got a decent code of ethics and integrity. Killing makes him highly uncomfortable, especially if it can be avoided. He'd rather shoot someone's kneecaps out than kill them where they stand - all of his "killshots", thus far, have been to stun. He even demands Peter avoid running over a pair of guards, "without giving them a warning" because they're just people who are doing their jobs. We don't know the consequences of demolishing the cars that were in pursuit of he and Peter during The Train from Nowhere, but based on Juno's record and his genuine skill with firearms, he shot out tires and did not aim to hurt the drivers. He's also not the type of guy who'll be bought off, frightened off, or who will give up on a case before it's finished.
WHAT ARE YOUR CHARACTER'S WEAKNESSES?:
In contrast, or perhaps as a result of, the first strength that was listed - Juno is not an altruistic, or even a kind individual. He’s stated on multiple occasions and in multiple ways that he is not concerned with being good, just doing good. He considers himself responsible for Getting Shit Done, in a city where apathy is what pays the bills and exploitation is a common theme. This translates into a deep well of pessimism and cynicism, where Juno seems to unconsciously delight throwing himself into harm’s way. It’s less about being self-sacrificial, and more about his self-loathing. He’ll easily risk his own life, because he feels - without a doubt - that there’s very little on the line that way. He will not, however, risk his life if it’ll drag anyone else down with him.
Stated plainly, Juno’s psychological profile is as much a danger, as it is a weakness. Juno is living with depression, which manifests as a general need to view every failure and shortcoming as a direct reflection of himself ( “My sister dies, and you turn it into a story about yourself --”, Sasha, in The Day that Wouldn’t Die; “You don’t like to work with other people, because you want all the glory when you win and you don’t want to be able to blame anyone but yourself when you don’t --”, Mick, in The Day That Wouldn’t Die ), a preference for alcohol over water, and a penchant for self-sabotage, especially when things are good.
On top of all that, he's got a very bad temper. There are a few examples of Juno's temper throughout; the most notable of which include the time that - following escaping Cecil's staged television drama where he was meant to likely die for the ratings, he spends some time punching Cecil. In the face, and he says that it feels good. In contrast, when Lilian Strauss - bound and helpless and visibly tortured when he finds her - is shot dead before his eyes, he goes cold, practical, business-like and Deals With the shooter. One shot, and we don't know if it was a shot to stun ( the usual choice he makes ) or a kill shot. I'll presume it was a stunning shot, but it doesn't change that he takes it without an inch of mercy.
In "The Day That Wouldn't Die", he and his two friends are coping with the anniversary of Annie's death, and it's messy. At one point, Mick expresses that he's worried about Juno - and Juno all but explodes. Yelling, sharp, white-hot with defensiveness and downright nasty; Mick sums him up as follows: "Used to be that the only way anyone knew you were mad... was if you'd broken a few of their teeth. You'd just sit on something really quiet for hours or days or weeks...", and then next thing someone would know, is they'd be bloodied and concussed. As an adult, he expresses his anger a little more - usually by yelling, saying things that are geared to cut deep and hurt bad, and withdrawing afterwards without apology.
There’s also the usual suspects: he’s scared of heights, squeamish around blood and notoriously bad at relationships.
And speaking of weaknesses, and “bad at relationships”. Peter Nureyev is a weakness. Especially since his castmate is being apped in to Pines. As a whole, Peter is a psychological and emotional weakness of his. While not his “berserk button”, Juno spends a lot of time preoccupied with thoughts and feeling very volatile things for the thief. Juno could largely be consider “in check”, as he won’t put Peter’s health, safety or anonymity at risk.
I guess, lastly? He’s good at Solitaire but shit at computers. He seems to barely know enough to identify one, especially if it’s high-end or futuristic. I don’t know how this translates into Wayward Pines, but if it’s a 90s computer, he’ll know what it is and maybe how to turn it on. Rita usually handles the computers. He's perfectly fine with other technology, though. A microfiches might frustrate him though.
WHAT EVENTS OR CIRCUMSTANCES IN YOUR CHARACTER'S PAST HAVE IMPACTED THEM THE MOST?:
The most important events that have affected Juno the most, or the most deeply, are definitely deaths. Annie Wire’s death, which was caused indirectly by Juno and his two best friends haunts him on an annual basis; putting it simply, he gets Bad when the anniversary of Annie’s death comes around. And in that regard, he’s even worse when it comes to his little brother’s death. Juno doesn’t become melancholic over his little brother, though - just tempestuous. He counts them as some of the greatest failures in his thirty-eight years of life.
Juno's spoken more about Annie's death than he has of his little brother's, but he doesn't often discuss himself or his psychoemotional nuances. He cites that it was "the first in a long, long train of mistakes". They are albatrosses, ones that he's hung about his neck to weigh every failure in his life against. He can look back on Annie and see his innate cruelty, taken form in the stupid decisions that a kid makes when they're bored, or annoyed with younger siblings who just want to hang out with the "cooler", bigger kids. He weighs the adult he's become against the child he was, and every life he can't preserve or save, he takes to heart. It manifests as a martyr-complex, wherein Juno thinks that every wrong is his fault, or his battle to fight, and he rarely asks for or accepts aid.
Because Juno monologues throughout the series, he sums up his opinions and thoughts, and again - the weight of Annie and his little brother's deaths can be summed up with a direct quote: "We got mistakes, we got guilt, we got every time you hurt someone, every time someone died because you weren’t good enough!" The root of his guilt can be traced back to the first deaths that were, in his mind, entirely by his hand. He survived his mother by running away, by avoiding home, but his little brother did not -- and he clearly believes this could have been prevented. Annie died, the result of a deadly game he and his friends made her play, but he takes the blame squarely on his shoulders.
He defends his city and the people with in it, out of some need to atone for the mistakes he made as a kid, the ones he believes he continues to make as an adult, and the two deaths that motivate him to do good. But, when things get dark and bleak, he's the type of guy who looks back on them, on the long line of people who've been killed or hurt, and he thinks he's the reason things are more broken than before.
However, on the other hand, one of those best friends is a guy called Mick Mercury, and the stories he used to tell. For the kids in Old Town, Mick’s tales were everything. Juno says that Mick was the guy who went around "telling stories about the city outside Oldtown, where the buildings were made of gold and nobody ever went to sleep hungry" - important dreams and hopes to hold onto, when you were a starving kid in a rundown, battered old neighborhood. Juno counts himself among those kids, and even when Mick was caught and exposed as a liar, he clung to those stories - because they were what gave him the idea that something out there was better, and worth looking forward to.
I bring him up a few times, but meeting Peter Nureyev was also a massive event in Juno’s life. He languishes after the thief; swims in memories of him, however he tries to fend them off by telling himself that he was conned, that he fell for a ruse like a sorry sack of shit and he’d paid his dues for making that mistake. He spends several months startling, though - chasing Peter’s shadow during a job, trying his damndest to throw out the letter where the man gave him his name ( no small thing, when the core of your anonymity is the most precious thing you can give ) and basically being told by unwitting third parties that he really shouldn’t let a good thing go. Of all the things Peter’s brought into his life, it’s definitely the simple, stray seed of a thought: maybe he’s actually worth what this lunatic sees in him.
WHAT MOTIVATES YOUR CHARACTER?:
Doing good. Not being good, just doing good. As a detective, he solves other people's problems - or at least tries to. He’s motivated by a sense of justice in a world that is unjust and doesn’t really feel the need to change. It’s not as though he’s out to clean up crime. The idea of people being hurt and killed bothers him intensely. What gets him up in the morning, day after day, is the thought that somebody has to do it, and that somebody has to be him. He’s got far too dangerous much a sense of responsibility towards his city ( and, in turn, Wayward Pines ) to sit around and be idle.
WHAT IMPRESSION DO OTHERS TEND TO HAVE OF YOUR CHARACTER?:
An easy-to-read, scruffy, petulant blue-collar detective with an ugly chip on his shoulder and A Past ( And Present ). The kind of guy who makes everything “his business” and is, in turn, the business of a lot of people. Definitely suffering from Chronic Hero Syndrome.
Canonically, a lot of people around the city know Juno - they know about his childhood, they know about his work in the HCPD and they know about his cases. In contrast to his foil ( Peter ), Juno is as anonymous as fireworks in a train station at rush hour. He’s loud, he pursues things aggressivly and only the people who actually get to know him see that he’s genuinely trying. Others, who have a surface read on him, may find him or do find him corrupt, difficult to handle, and very defiant. Of everything, especially if it’s good for him.
IN WHAT WAYS DOES THAT IMPRESSION DIFFER FROM WHO YOUR CHARACTER REALLY IS?:
Not very, to say the least. Juno wears who he is on his outsides, and definitely promotes himself as something that’s only worth what he can do for others. He’s something that has uses, and one day, he’ll stop being of use. Honestly, it’s easy to say that he’s a good boy who’s doing his best to learn to be good - but the truth is that Juno has earned himself a Reputation in some circles of Hyperion. And not by mistake. He does thrill in dangerous deeds, deadly force and finds himself enjoying what are otherwise "morally suspect" acts ( ie. pulling off a heist, “defeating” a cheating gambler and otherwise humiliating him before the eyes of his patrons, etc. ).
HOW DOES YOUR CHARACTER HANDLE CRISIS OR ADVERSITY?:
With sarcastic wit, fisticuffs and a well-placed laser bolt set to “stun”. No, really.
Juno plays “Rage Judo” with bad situations and worse adversaries. He’s got a mouth made to sling clever insults, and is not above playing fast, loose and dirty - whatever means he’ll walk away and finish the job for his client. He prefers subduing opponents to killing them, at all times, but is not above killing someone - he does actively try not to, though. Especially since this is A Crime in Wayward Pines. Not so much in Hyperion, provided you know your way around the ramshackle system they call “the law”.
WHICH 5 THINGS WILL YOUR CHARACTER REMEMBER UPON ARRIVAL, AND WHY DID YOU CHOOSE THEM?:
1. "Remember how I said my mother never killed me? Well, my brother wasn’t so lucky."
2. Peter Nureyev; someone he values immensely, and was going to run far, far away with.
3. That he's a private eye, and has been one for over a decade. Can't remember his cases. How odd.
4. A dangerous woman; she wanted what was hers, and tried to take her pound of flesh and he told her "no".
5. The image of a brain, with a gross growth "plugged" into the back of an eyeball.
The first four are very important facts that make up his core identity and definitive experiences that have shaped how he makes decisions throughout his life. They’re things that will translate well into "real memories” of life within Wayward Pines as well, and are flexible enough that the integration into Pines won't be threatened but also will be enough of a challenge to play into. The very last memory is enough of a concern and a mystery to keep him juggling his priorities in Pines, and playing nice.
IS THERE ANYTHING ELSE YOU FEEL WE NEED TO KNOW ABOUT YOUR CHARACTER?:
The Penumbra Podcast does a wonderful job of creating characters with physical disabilities, mental illness and queer themes to their listeners. Three of these things are part of Juno’s character as a whole - and one of them revolves around living with depression and possibly alcoholism. I will be treating these topics with as much respect and dignity as I am able to, but wanted to give the mods a heads up! I’ll remember content warnings and everything, although his depression is not overt. Also, Juno is nonbinary. When he refers to himself as a lady, it’s because he is a lady. Yay, the future!
SKILLS, ABILITIES, & PHYSICAL WEAKNESSES:
BRAWLER ( SKILL ) - Not the best, and certainly not martially trained. As a child, he had plenty of opportunities to learn how to fight fast, dirty and for survival. He’s professional trained, from his career as a cop and demonstrates a real sound skill at being able to keep up with an ex-military fighter for a little while. He’s very, very good at taking the hits, as well. It’s like he enjoys it, sometimes. He's also very, very willing to cheat and improvise.
FIREARMS ( SKILL ) - As an ex-cop, he is intimately familiar with firearms. He’s used them, presumably from childhood, in one capacity or another. This is his favored talent and what he believes makes and breaks his career. It's supported by canon that he is able to use a variety of firearms - including laser pistols and sniper rifles, and that he is familiar with “archaic” weaponry such as guns that shoot, you know, normal bullets.
ANALYTICS ( SKILL ) - Again, as an ex-cop and a private investigator, he's received enough training and developed his cognitive skills enough to know police procedures, nonverbal communication, how to multi-task and prioritize, research, observe, perform reconnaissance, and possesses just enough social graces to juggle a conversation and weed his way through the lies and secrets. Juno knows a lot of junk about a lot of junk, and consumes information like a freaking black hole.
DISNEY PRINCESS??? ( SKILL/APTITUDE ) - As a kid, and even as an adult, Juno used to run away to the Old Town sewers - which were a massive network and veritable maze full of danger and death ( think pools of acidic spillover, monstrous abandoned killer robots, etc. ). In order to navigate them with any sort of guarantee that he'd make it back out alive and in one piece, he took the time to learn to communicate with what he refers to as "sewer rabbits". I kid you not. Some ladies talk to birds and mice, he talks to genetic mutant "rabbits". When we ( the listener ) and the in-universe characters hear the rabbits speak, they can't understand them. They don't speak a human tongue, though they understand it. Juno effectively parses the guttural noises and translates for everyone - he literally picked up gutterspeech.
So, arguably.. he can... pick up non-human languages given enough time and reason to, or at least adapt to some form of effective communication with them ( as a child, it was a NECESSITY that he do so ). It's such a weird and situation talent, and I wanted it stated for the record.
TELEPATHY ( ABILITY ) - Due to the Lessoniana Growth, located in his brain and hooked up to his right eye. Miasma explains its abilities as thus: "... at the growth's fullest capacity, you should be able to dive beyond the conscious mind - into the subject's memories". With effort and focus, he can read a conscious mind. It causes pain, disorientation and hemorrhage; it also does not seem to be something that can be reciprocated. Miasma, as a Martian, has a brain hardwired to communicate mind-to-mind with Juno, but Peter cannot. It's like a one-way window or a one-way radio or a peephole in a door. The mind he's focusing on can communicate to him, but Juno cannot communicate back. ( SEE BELOW FOR REPERCUSSIONS OF USE. )
LESSONIANA GROWTH ( P. WEAKNESS ) - It's a tumor, and what grants him the weird telepathy power. The growth is in his brain and connected to his eye and it's definitely medically dangerous. When relying on its biological processes, he bleeds - eyes, nose. Looking at human anatomical structure, the location (by his front lobe, and connected to his right eye) suggests he'll experience migraines on a regular basis, and potential complications to frontal lobe processes. This wasn't really explored in canon, because shortly after the growth grew to the size that it currently is, Juno pushes himself/the growth so hard that it explodes and takes his eye with it. Which can and will happen, if he's not cautious.
MONOLOGUE-ING??? ( P. WEAKNESS ) - Uh, he mutters to himself. A lot. We think? A lot of "noir types" enjoy a bit of personal exposition on the matter at hand, and Juno is no exception. Because the Penumbra Podcast is an audio medium, we're lead to believe that Juno is narrating the past - but it turns out, that he's doing something more like auto-dictating or referring to events while they're happening. Sometimes; and mostly for comedic effect, as Mick is the only one who has ever interrupted him while he's muttering about things.
INVENTORY:
[ONE] set of clothes, torn.
[ONE] wallet, containing about 20 creds, a driver's I.D. and a P.I. license.
[ONE] Lessoniana Growth, on his front lobe behind his right eye.
[A WHOLE LOT] of #Feelings. A veritable hot bed of feelings. Heck!!!
PROSE-HEAVY: [ TDM ] - a reunion. ( PETER & JUNO )
* This thread was written when my canon point was post!Juno losing his eye, which I have changed. 8,) THANKS MODS.
DIALOGUE-HEAVY: [ TDM ] - weird cats. ( RYAN & JUNO )