You keep saying our beliefs are different, and I’m going to get mad, you know? (Part 1)
1. “正确”高于“正义”： 他并不认为自己的行为符合社会常规定义的“正义”，但坚信自己所走的道路是“正确”的——因为他问心无愧。
关键点： 这是他个人认定的正确性，即便这条道路被外界视为“不正确”。这本身就意味着他并未遵循社会秩序对“正义/正确”的规范性定义。
2. “生命审判权”的绝对禁忌： 他坚信生命至高无上，无人有权擅自审判他人性命，决定谁该死、谁该活。 这是人类最朴素的正义基石——维护自身存在正当性的根本要义。其逻辑在于：既然你的生命可贵，他人的生命同样可贵。
老杰克的行为，作为义盗，他的行为符合社会意义上的“正义”吗？ 不符合。
符合“程序正义”吗？ 更不符合——偷抢行为本身就违背了程序。
符合“结果正义”吗？ 符合，因其目的在于“济贫”。
老杰克的核心准则是你可以采取某些手段（如偷抢）去达成目的，但绝对不可逾越的底线是杀人。
因为引发正当性的崩塌。一旦你擅自审判、剥夺他人生命，便等同于赋予他人同等的权利来审判、剥夺你的生命。
这行为将彻底摧毁一切行为的正当性基础，并动摇作为“人”的根基。
“如果我们擅自审判他人性命，那么他人便有权（也必将）擅自审判我们的性命。”
而这，正是整个故事埋下的终极“鱼钩”——一个由谎言编织而成的真相。
Their shared mentor, Old Jack, taught principles that can be summarized as follows:
"Right" over "Justice": He did not believe his actions aligned with society's conventional definition of "justice," but he firmly believed that the path he followed was "right"—because his conscience was clear. Key point: This was his personal conviction of what was right, even if the world viewed this path as "incorrect." This itself indicates that he did not adhere to society's normative definitions of "justice/correctness."
The Absolute Taboo of the "Right to Judge Life": He believed that life is sacred, and no one has the right to arbitrarily judge another person's life—to decide who deserves to live or die. This is the most fundamental cornerstone of human justice—the essential principle that upholds the legitimacy of one’s own existence. The logic is: since your life is precious, so is the life of others.
Old Jack’s actions, as a "righteous thief":
Do they align with societal "justice"? No.
Do they align with "procedural justice"? Even less so—theft and robbery themselves violate procedures.
Do they align with "outcome justice"? Yes, because their purpose is to "help the poor."
Old Jack’s core principle is that one may employ certain means (such as theft or robbery) to achieve an end, but the absolute line that must never be crossed is killing.
Why is "thou shalt not kill" so crucial?
Because it triggers the collapse of legitimacy. Once you arbitrarily judge and take another’s life, you effectively grant others the same right to judge and take your life. This act utterly destroys the foundational legitimacy of all actions and undermines the very basis of being "human."
From this, it can be concluded:
"If we arbitrarily judge the lives of others, then others will have the right (and will inevitably) arbitrarily judge our lives."
And this is precisely the ultimate "hook" embedded in the entire story—a truth woven from lies.
共同的根基： 反舌鸟（Mockingbird）的理想
继承其恩师之后，雨果与莱卡恩作为两位反舌鸟创始成员，那必须要先明确反舌鸟的理想是什么，劫富济贫不过是他们手段，而不是目标。
反舌鸟的核心理念，由他与薇薇安亲口阐明，并经由莱卡恩对过往行动的痛苦反思与最终确认 ，赋予了其沉重的现实重量。
The Common Foundation:The Mockingbird's Ideal
Following in the footsteps of their mentor, Hugo and Lycaon, as founding members of the Mockingbirds, must first clarify what the Mockingbird's ideal truly is. "Rob from the rich to give to the poor" is merely their method, not their goal.
The core philosophy of the Mockingbirds was articulated by Hugo and Vivian themselves, and was ultimately given its profound, real-world weight through Lycaon's painful reflection on their past actions and his final confirmation.
“用自己的双手，将不公的世界重塑为公平的秩序；维护弱势者的尊严，让平等的荣光照耀所有人。”
——这确乎是一个既天真得令人心颤，又崇高得近乎悲壮的理想。因为它所追求的，正是根除世间一切不平等的病灶。
这份宏愿本身，便是对恶的彻底否定，对善的终极肯定——它渴望斩断不公的锁链，让失落的天平重归平衡。
"To reshape this unjust world into one of fair order with our own hands; to uphold the dignity of the vulnerable, so that the light of equality shines upon all."
—This is indeed an ideal both so天真 it makes one tremble, and so lofty it borders on the tragic. For what it seeks is to eradicate the very root of all inequality in this world.
This grand aspiration is, in itself, a complete rejection of evil and the ultimate affirmation of good—it yearns to sever the chains of injustice and restore the lost balance of the scales.
A utopia perhaps forever out of reach, a mirage suspended in the sky.
The Core of the Ideological Divide:Path, Not Goal
On the day of their mentor's teaching, there was such a conversation.
在这张图上，雨果笑的很开心，相反莱卡恩异常认真，并且在他们成年后的，莱卡恩成为爱拿着书本的人，虽然估摸是拿来睡觉用的。
In this picture, Hugo grins cheerfully, while Lycaon looks unusually serious. Even in their adulthood, Lycaon has become someone who always carries a book around—though more for napping on, by the looks of it.
他的话语清晰地透露出 对公平的彻底否定、对平等的根本拒斥，甚至是对生命可贵性的全然漠视。
正因如此，他必然招致老杰克“傲慢”的评价。为何是“傲慢”？ 根源在于，雨果将自己凌驾于众生之上，僭越为审判者——他独断生杀予夺，裁决谁该死、谁该活，并怀抱着重塑世界的强烈渴望。
这一思想真正的危险在于： 它设定了一个宏大的终极目标。在这个“崇高”目标的光环下，任何具体的牺牲似乎都变得渺小、可以接受。然而，这正是无法忽视的“恶”的起点。
这也是塑造经典反派的经典手法之一——披着“正义”外衣的自以为是。
所以其逻辑的滑坡无可避免：为了拯救六十亿人，牺牲区区两人又如何？今日可牺牲“少数”，明日便可牺牲“他者”……最终，自身也必将被吞噬，彻底堕为恶龙。
说真的你这样让我响起故人之音，那个人叫卫宫切嗣！一模一样啊，他也那么想啊
因此，他的整个立场，就是对老杰克核心理念的根本性否定。
这也恰恰解释了，为何莱卡恩在向雨果道歉时，会说出那句：
His words clearly reveal a complete denial of fairness, a fundamental rejection of equality, and an utter disregard for the preciousness of life.
This is precisely why he inevitably draws Old Jack's assessment of "arrogance." Why "arrogance"? The root lies in Hugo placing himself above all others, presuming the role of a judge—he alone decides who should live or die, wielding the power of life and death, driven by a fervent desire to reshape the world.
The true danger of this ideology lies in the fact that it sets a grand, ultimate goal. Under the halo of this "lofty" objective, any specific sacrifices seem trivial and acceptable. Yet, this is precisely where the undeniable starting point of "evil" emerges.
This is also one of the classic methods used to shape classic antagonists—self-righteousness cloaked in the guise of "justice."
Thus, the logical slippery slope is inevitable: to save six billion people, what does sacrificing a mere two matter? Today, the "few" can be sacrificed; tomorrow, the "other" can be sacrificed… In the end, even the self will inevitably be devoured, utterly transforming into the very dragon of evil.
Honestly, this reminds me of the echoes of an old acquaintance—a man named Kiritsugu Emiya! It's identical; he thought the exact same way.
Therefore, his entire stance represents a fundamental negation of Old Jack's core philosophy.
This also precisely explains why, when apologizing to Hugo, Lycaon would say those words:
（并且你可以清晰看到莱卡恩对雨果的误解并不是简单地去误解他杀人，而是从头到尾他都在误解。他将雨果整个行为以及行动都建立这种认知上的。雨果成立反舌鸟就是为了满足自己满足自己复仇，让自己得到权力。是这样的一个形象，一个自私自利的人，他只会牺牲别人而不会牺牲自己。）
同时也在这里，他已经展示他某些天赋异禀，他没有说他那么觉得，而是说大家都那么觉得不是吗？他用其他人来代替自己，但他自己真实想法其实压根就没有说。
就像1.6时候他听到学生说话的时候，就地取材，但其后才在1.7听到本人真实想法，不否认现实存在但他选择了理想与希望，并肯定理想的价值。
现在再次回到老杰克的开头的话，老杰克用自己标准去衡量去判断自己所走之路是否正确。
而雨果回答的是什么？正确与否他自己判断，并且他确实那么做了，自己选择了一条自己认为正确的道路。
这与老杰克自己所言其实是一致，是他言传身教，选择那条自己认为正确的道理，而不是别人所认为的正确，做自己认为正确的事情，问心无愧。
他首先承认了世界的不公，并以此为由否定了生命的平等与公平本身。然而，这种否定恰恰隐含着肯定——他肯定了公平理应存在，肯定了每个生命的独一无二，肯定了世界本应有的美好。他渴望保护这份美好，让世界回归其应有的模样。可悲的是，这份肯定与期许，已被仇恨彻底浸染。
雨果渴望重塑不公世界为公平秩序，维护弱者尊严，让平等荣光照耀所有人。其内核是对善的执着（源于对摧毁善的恶的切肤之恨）和对生命价值的终极肯定（即使手段曾偏离）。
莱卡恩对自身理想（如老杰克教导、面对雨果嘲弄时“与你多说无益”的倔强）始终抱有强烈的傲气与坚持，并在这次对谈中，雨果就指出了莱卡恩有个正义的梦想。
其实我认识一个故人，他叫卫宫士郎，并且他也很喜欢做饭，你看看这个事？他还能变身红A哦
莱卡恩“救世主”情结与践行正义的热忱（尤见于1.7营救工人的情节）是其内在核心。——与其效忠的阵营无关。不为市长工作，他依然会遵循本心去行动。
（And you can clearly see that Lycaon's misunderstanding of Hugo is not simply about whether he kills people—it is a misunderstanding from beginning to end. He has built his entire interpretation of Hugo's behavior and actions upon this flawed perception.Hugo founded the Mockingbirds solely to satisfy his own desire for revenge and to gain power for himself. This portrays him as a self-serving individual who would only sacrifice others, never himself.）
At the same time, here he has already displayed his unique talent. He didn't say that he felt that way, but rather asked, "Isn't that what everyone thinks?" He used others to speak for himself, while his true thoughts remained entirely unspoken.
Just like in Section 1.6, when he heard the students talking, he improvised on the spot. It wasn't until Section 1.7 that his genuine personal thoughts were revealed: he does not deny the existence of reality, but he chooses idealism and hope, affirming the value of ideals.
Now, returning once more to Old Jack's opening words: Old Jack used his own standards to measure and judge whether the path he walked was correct.
And what was Hugo's reply? He himself would judge what was right or wrong, and he indeed acted accordingly—choosing a path he personally deemed correct.
This aligns with what Old Jack himself taught through words and deeds: to choose the path one believes is right, not the path others deem right; to act according to one's own conscience, with a clear heart.
Looking back, then, what is Hugo actually denying?
He first acknowledges the world's injustice and uses it as grounds to reject the very notions of life's equality and fairness. Yet, within this denial lies an implicit affirmation—he affirms that fairness ought to exist, that every life is unique, and that the world should be a beautiful place. He longs to protect that beauty and restore the world to how it should be. Tragically, this affirmation and hope have been utterly tainted by hatred.
Hugo's desire is to reshape an unjust world into one of fair order, uphold the dignity of the weak, and let the light of equality shine upon all. At its core, this is a persistent commitment to good (born from a visceral hatred of the evil that destroys good) and an ultimate affirmation of life's value (even if his methods have strayed).
Now, it is Lycaon's turn:
Lycaon has always carried a strong sense of pride and steadfastness toward his own ideals (such as Old Jack's teachings, and his stubborn retort "It's pointless to discuss this with you" when mocked by Hugo). In this very conversation, Hugo pointed out that Lycaon possesses "a dream of justice."
Actually, I know someone from the past named Shirou Emiya, and he also loves cooking. What do you think about that? He can even transform into Archer (Red)!
Lycaon's "savior complex" and his fervor for enacting justice (as particularly seen in the Section 1.7 incident rescuing workers) form the core of his being—independent of the faction he serves. Even if he were not working for the Mayor, he would still act according to his conscience.
什么是对抗空洞责任？空洞在世界观里面其实类似自然灾害，对抗自然灾害的责任是个什么玩儿？人类何时背过抗灾的"天责"？
尊严是指对人的身份、地位等的认同，是人人共有的平等的权利，应该受到尊重。但文明的尊严，这个地方就剩一个城市，但反过来说一个不保护弱者不善待普通人的文明真的尊严可言吗？
可是这句话同样开除无数普通人，只是尊重正义伙伴的付出，是英雄史观。
正义伙伴付出自然是值得肯定，而更重要的是，这座城市重生，靠的不是几个英雄，而是无数笑对灾厄的平凡灵魂——
是他们用日复一日的"起舞"，在死亡阴影下把活着酿成庆典。
Indeed, we can see how Lycaon expresses this during the New Year event:
What is this so-called "duty to resist the Hollow"? In this world, the Hollow is akin to a natural disaster. Since when have humans ever borne some "divine duty" to fight natural disasters?
Dignity refers to the recognition of a person's identity, status, and so on—a right shared equally by all, deserving of respect. But when it comes to the "dignity of a civilization"… here, only one city remains. On the other hand, does a civilization that fails to protect the weak or treat ordinary people with kindness truly possess any dignity worth speaking of?
Thus, this is nothing more than a narrative of "justice partners" defending life.
Yet this statement also excludes countless ordinary people, merely honoring the sacrifices of these "justice partners"—a heroic view of history.
While the contributions of these justice partners certainly deserve recognition, what matters more is that the rebirth of this city does not rely on a few heroes, but on countless ordinary souls who face calamity with smiles—
It is they, through their day-after-day "dancing," who turn living under the shadow of death into a celebration.
若拯救只停留在喘气，那生命不过是倒计时的丧钟。撑起人间不坠的，是饺子铺的热气、广场舞的旋律、是爱恨交织的"还想再活五百年"！
当然这里最重要还是，莱卡恩是真的很喜欢当正义的伙伴。
顺便他跟雨果都做一样的选择，并且是同一个答案，雨果偷那个碟子，莱卡恩解读为因为拯救新艾丽都的碟子。
在1.6时候他们争吵那段，雨果就已经提出了责问：你的双腿跟眼睛还没让你学会教训吗？
而莱卡恩的回答显然是：没错，即使失去双腿跟一只眼睛，他依旧会继续。他不会改变他的原则。
并在1.7剧情莱卡恩跑着去拯救工人，并让对方快点的时候，就被雨果再度指出：“你是真的喜欢这个事。”
那么让更多人能获得公平保护，就会是他自然而然的选择。
莱卡恩守护生命，践行正义（“正义伙伴”的本心）。其行为核心是保护与拯救，反对擅自剥夺生命。
两人终极目标高度一致——根除不公，守护生命尊严，建立更公平的世界。这是他们所有互动与冲突的深层根基（“同一性”）。
If salvation merely means continuing to breathe, then life is nothing but a death-knell countdown. What truly holds this world from falling apart is the steam rising from dumpling shops, the rhythm of square dancing, and the love-and-hate interwoven cry of "I still want to live another five hundred years!"
All things must eventually perish, but before the curtain falls—sing with all your heart!
Isn’t it true that as long as someone is still singing, everything remains worth fighting for?
Of course, the most important point here is that Lycaon truly loves being a "partner of justice."
Incidentally, both he and Hugo made the same choice—and arrived at the same answer. When Hugo stole that disc, Lycaon interpreted it as "the disc that would save New Eridu."
During their argument in Chapter 1.6, Hugo already posed the sharp question: "Haven’t your legs and your eye taught you any lesson yet?"
Lycaon’s reply was clear: No—even if he lost his legs and an eye, he would still continue. He would not change his principles.
Then in Chapter 1.7, when Lycaon ran to save the workers and urged them to hurry, Hugo pointed out once again: "You really do love this, don’t you?"
Thus, enabling more people to receive fair protection naturally becomes his chosen path.
Lycaon protects lives and practices justice (the true heart of a "partner of justice"). The core of his actions lies in protection and salvation, opposing the arbitrary taking of life.
The ultimate goal of the two is highly aligned: to eradicate injustice, safeguard the dignity of life, and build a fairer world. This is the deep foundation of all their interactions and conflicts—their essential unity.
老杰克看穿雨果的本质上的仇恨之子。那条看似通往“康庄大道”的堕落之路，恰恰是雨果最容易、最“舒适”的选择——放弃思考，放弃抗争，将自己全然交付于仇恨与极端，便能获得一种虚幻的安全感。与之相比，坚守良知、持续抗争的道路，才是真正艰难险阻的荆棘之途。
Old Jack saw through Hugo's nature as a child of hatred. That seemingly "broad, smooth road" of corruption was, in fact, the easiest and most "comfortable" choice for Hugo—to abandon thought, to abandon struggle, to surrender himself entirely to hatred and extremism, thereby gaining an illusion of security. In contrast, the path of upholding conscience and persisting in resistance is the truly arduous and treacherous path of thorns.
但一个被家族虐待、遭生母憎恶、甫一降世便被嫌弃、时刻恐惧被抛弃的孩子，如何能诞生出如此纯粹得近乎天真的理想？
这看似矛盾，却恰恰能从其心理根源找到答案。他强烈的控制欲，乃至心魔最终那句撕心裂肺的哀求——“连你也要抛弃我了吗？”——都深深烙印着这份创伤。一个被剥夺了基本安全感的孩子，其“正义”逻辑注定异于常理，却严丝合缝地契合着他扭曲的来处。
他一出生便被母亲厌弃。这位无法爱自己、更无法爱孩子的母亲，在憎恨自身（并在雨果身上看到自己）的漩涡中，终究未能掐死他，却将疯狂的憎恨倾泻于他。雨果从未从生母处获得过正常的爱。
直到塞丽娜出现。她给予雨果爱与保护——那是一种无私的、近乎神圣的奉献。与其说她是妹妹，不如说她是雨果心理上的母亲。她照顾他、保护他、分享食物、温柔地念故事——她满足了一个孩子对“理想母亲”的一切渴望。尽管生物学上她是妹妹，但情感的联结早已超越了标签。塞丽娜填补了他情感的巨大空洞。
然而，这位他生命中唯一的“母亲”，最终因他而死归根结底，塞丽娜的悲剧，连同他生母的不幸，其源头皆指向那个高高在上、视人命如草芥的父亲。父亲成了他实质上的“杀母仇人”。
他流淌着“杀母仇人”的血液，他的存在本身即依赖于这个恶魔。否定父亲，便是在否定自身存在的根基。
如同生母在他身上看到憎恨的自己，雨果在父亲身上看到了自己可能成为的恶魔。他憎恨父亲，亦恐惧并憎恨着体内那部分“父亲”的自己。他最想抹杀的，正是承载着这份血缘与“原罪”的自我。
核心困境：对父（即自身存在源头）的彻底否定，必然引发对自我价值的彻底崩塌。
判定父亲有罪，等同于宣判自身存在即为“罪孽”的化身，是不该存于世间的“秽物”。然而，塞丽娜曾倾注的爱，在他灵魂深处烙印下对爱与生存的本能渴望。复仇之后，巨大的虚无与恐惧反而达到顶峰，迫使他逃离那片地狱。
正是这段炼狱般的经历，锻造了他日后对“恶”的绝对憎恨 ，成为他渴望正义伸张、希冀善有善报恶有恶报、乃至立志“斩断恶之锁链、重塑公平世界”的精神基石 。
这仇恨的源头，恰恰是至纯的爱与善 。正因为他对塞丽娜所代表的爱与善有着近乎信仰的渴望与珍视，才会对摧毁这一切的人与物燃起滔天怒火 ，并执着地要求他们付出终极代价。
此困境的“无解”之处在于：父母是子女 存在的绝对前提 。否定父母（尤其“弑父/弑母”行为），即是对 自身存在根基最彻底的瓦解 。无数文学经典（如《杀父》、《吸血》等）都在叩问此命题，其共识往往是：唯有某种形式的 接纳 （非认同），才能挣脱“存在性死亡”的宿命。
而“弑母”（即使是象征意义上），其后果更为致命。父角色或许可在文化/心理层面被替代（“爹可以不是爹”），但母职所象征的生命源头与最初联结 ，具有无可替代的唯一性（“妈真的只能是你妈”）。因此，在文学救赎的语境下，角色真正“杀死”父母（尤其母亲），常被视为对自身存在最决绝的否定，极难挽回。
(注：以上探讨基于文学与哲学范畴，现实情况复杂多元。若遭遇原生家庭不幸，请务必寻求专业心理或社会机构帮助。)
有趣的是，若玩家有幸“抽中”雨果，会发现他选择的电影清单——《杀父》、《吸血》、《自我接纳》——恰恰是他人生的残酷注脚，一场关于存在、血缘与救赎的银幕复现。
他对甜品的PTSD，亦可视为某种 血族隐喻的变奏 ：正如血族为生存不得不啜饮鲜血，雨果为维系生命（或某种精神存活）不得不摄入糖分——一种 甜蜜的生存之刑 。
当然这玩儿确实是无聊，毕竟要讨论这种事情的话，那确实还是雨果更好看哦~
这正是一个残酷的悖论：他越是激烈地憎恨与抗拒深渊，自身反而更深地沉沦其中；他越是拼命否定某种存在（父亲/自我），却恰恰在否定过程中，为那被拒斥之物赋予了难以磨灭的“存在感”。
因为纯粹的“否定”，本身就需要一个 被锚定的客体 。每一次挥剑斩向幻影，都无异于在精神层面为其 浇筑更坚实的轮廓 。
真正的消解，唯有通过 接纳后的超越 方能达成——如同双重否定的尽头，终将导向 对存在的终极肯定 。
因此，“接纳”成为雨果无法回避的课题。他需要肯定自身存在的合理性，唯有在清晰的自我认知中扎根，才不会在旧日的泥沼中 反复沉沦。
纵览雨果的言行，其内核确乎源于对善的执着、对恶的深恶痛绝，以及“愿更多人得救、得以获得平等”的悲悯宏愿。然而，这理想主义的光辉之下，亦清晰可辨自我毁灭的倒影 ——那是一种不惜焚毁他者，亦终将引火自焚的决绝。
老杰克，正是洞见了毁灭潜能下纯粹初心，才忧心如焚。“多好的孩子啊，怎能眼看他就此万劫不复？” 雨果骨子里的良善，注定了他践行此道的每一刻，都将承受加倍的煎熬。但凡心怀恻隐，谁能忍心？
诚然，回望1.6-1.7剧情，或可指责老杰克未能全然理解雨果。但于彼时的老杰克而言：他所见所历，尽是抗争者最终堕入深渊的轨迹。这份担忧绝非空穴来风。他的时间已然耗尽，他再无力以岁月陪伴雨果成长，见证其可能的蜕变。
因此，他将全部希望寄托于莱卡恩——祈盼在雨果行至悬崖边缘时，莱卡恩能成为那根救赎的绳索，以“慈悲”化解其痛苦。
更深层的是，老杰克此刻已实质性地占据了雨果“精神之父”的位置 ——他填补了那个被生理父亲撕裂的父。
正是这份“父职”，催生了他对雨果未来的深切忧虑。理性上，雨果能理解这位“父亲”的恐惧源于爱；情感上，这“不信任”却如利刃穿心。他渴望是向这位“父亲”证明——
“您所忧惧的深渊，我终将跨越；您珍视的良善，我必能守护。”
是可以在EP里面找属于老杰克时候那一句话里面雨果自己的台词。
But how could a child who was abused by his family, despised by his own mother, rejected from the moment of birth, and lived in constant fear of abandonment give rise to such a pure, almost naive ideal?
This apparent paradox can be traced back to its psychological roots. His intense need for control, and even the desperate plea in his inner demon's final cry—"Are you going to abandon me too?"—are deeply imprinted with this trauma. A child stripped of basic security develops a logic of "justice" that defies common sense, yet fits perfectly with the distorted origins of his existence.
He was resented by his mother from birth. This mother, unable to love herself—let alone her child—ultimately could not bring herself to kill him, yet poured her frenzied hatred onto him. Hugo never received normal love from his birth mother.
Then Serena appeared. She gave Hugo love and protection—a selfless, almost sacred devotion. More than a sister, she became Hugo's psychological mother. She cared for him, protected him, shared food, read stories gently—she fulfilled all a child's longing for an "ideal mother." Though biologically his sister, their emotional bond transcended labels. Serena filled the vast emptiness within him.
Yet this sole "mother" in his life ultimately died because of him. In the end, Serena's tragedy, along with his birth mother's suffering, originated from that lofty father who treated human lives as mere grass. The father became, in essence, his "mother's killer."
Thus, Hugo was plunged into an existential abyss:
He carries the blood of his "mother's killer"; his very existence depends on this monster. To reject the father is to negate the very foundation of his own being.
Just as his birth mother saw her own hated self in him, Hugo saw in his father the monster he himself might become. He hated his father, and feared and despised the part of himself that was "his father." What he most wished to erase was precisely that self—bearing this bloodline and "original sin."
Core dilemma: The complete rejection of the father (the source of his own existence) inevitably triggers the complete collapse of his self-worth.
To condemn the father as guilty is to declare his own existence as an embodiment of "sin," a "defilement" that should never have been born. Yet, the love Serena poured into him left an indelible mark on his soul—an instinctive craving for love and survival. After his revenge, the immense void and fear peaked instead, forcing him to flee that hell.
It was this infernal experience that forged his absolute hatred for "evil" in the years to come, becoming the spiritual foundation for his desire to see justice served, for good to be rewarded and evil punished, and even for his resolve to "sever the chains of evil and reshape the world into fairness."
The source of this hatred is precisely the purest love and goodness. It is precisely because he cherished the love and goodness represented by Serena with an almost religious yearning that he burned with towering rage toward those who destroyed it, demanding they pay the ultimate price.
The philosophical dilemma of this father-son relationship can be stated as follows:
Identifying with the perpetrator (father) = Deepening self-negation and self-hatred
Rejecting the perpetrator (father) = Possibility of self-affirmation and seeking self-love
Therefore, it is fundamentally impossible for Hugo to identify with his father in any way.
The "unsolvable" nature of this dilemma lies in this: parents are the absolute precondition for a child's existence. To reject one's parents (especially the symbolic act of "patricide/matricide") is to enact the most thorough dissolution of one's own existential foundation. Countless literary classics (such as The Father Killer, The Blood Drinker, etc.) grapple with this theme, often suggesting that only some form of acceptance (not identification) can break free from the fate of "existential death."
And "matricide" (even symbolically) carries even more fatal consequences. The father role might be replaceable on a cultural/psychological level ("a dad doesn't have to be the dad"), but the mother figure, symbolizing the source of life and the primal bond, possesses an irreplaceable uniqueness ("a mom really can only be your mom"). Thus, in the context of literary redemption, a character truly "killing" their parents (especially the mother) is often seen as the most resolute negation of their own existence, extremely difficult to redeem.
(Note: The above discussion is based on literary and philosophical contexts. Real-life situations are complex and varied. If you are experiencing hardship due to your family of origin, please be sure to seek help from professional psychological or social services.)
Interestingly, if players are "lucky" enough to "draw" Hugo, they will find his chosen movie list—The Father Killer, The Blood Drinker, Self-Acceptance—is a cruel footnote to his life, a silver-screen reenactment of existence, bloodline, and redemption.
His PTSD regarding sweets can also be seen as a variation of a vampire metaphor: just as vampires must drink blood to survive, Hugo must consume sugar to sustain his life (or a kind of spiritual survival)—a sweet sentence of existence.
Of course, this is all rather trivial. After all, if we're going to discuss such things, Hugo is certainly more interesting to look at~
This isn't an academic conference; let's leave it at that.
Herein lies a cruel paradox: the more fiercely he hates and resists the abyss, the deeper he sinks into it; the more desperately he negates a certain existence (father/self), the more, in the very act of negation, he gives that rejected thing an indelible "sense of existence."
Because pure "negation" itself requires an anchored object. Every time he swings his sword at the phantom, it is tantamount to casting a more solid outline for it in the psychic realm.
True dissolution can only be achieved through transcendence following acceptance—just as the end of a double negation ultimately leads to the ultimate affirmation of existence.
Therefore, "acceptance" becomes an unavoidable task for Hugo. He needs to affirm the validity of his own existence. Only by taking root in clear self-awareness can he avoid repeatedly sinking back into the mire of the past.
Surveying Hugo's words and actions, their core indeed stems from a commitment to good, a deep abhorrence of evil, and a compassionate, grand wish for "more people to be saved and to attain equality." However, beneath this idealistic radiance, the shadow of self-destruction is also clearly discernible—a determination that would not hesitate to burn others and would ultimately consume itself.
Old Jack, seeing precisely this pure初心 beneath the destructive potential, was filled with dread. "Such a fine child—how can I watch him fall into eternal ruin?" The inherent goodness in Hugo's bones destined him to suffer double torment with every step taken on this path. Who with a shred of compassion could bear to see it?
Admittedly, looking back at the story from Chapters 1.6 to 1.7, one might accuse Old Jack of failing to fully understand Hugo. But from Old Jack's perspective at that time: all he had seen and experienced were the trajectories of fighters ultimately falling into the abyss. His fears were not unfounded. His time had run out; he no longer had the years to accompany Hugo's growth and witness his potential transformation.
Therefore, he placed all his hopes in Lycaon—praying that when Hugo reached the cliff's edge, Lycaon could become that rope of redemption, dissolving his pain with "compassion."
On a deeper level, Old Jack had effectively assumed the position of Hugo's "spiritual father" at this point—he filled the void of "father" torn apart by the biological one.
It was precisely this "fatherly role" that gave birth to his profound anxiety for Hugo's future. Rationally, Hugo could understand that this "father's" fear stemmed from love; emotionally, this "distrust" pierced his heart like a blade. He longed to prove to this "father"—
"The abyss you fear, I will eventually cross; the goodness you cherish, I will surely protect."
You can find Hugo's own line from that moment with Old Jack in the EP.
此类事件对雨果的伤害，其实烈度实则有限。正如前述——他早已深陷 自我存在的彻底否定 ，早已将自身钉上罪人的十字架 。
他人的质疑或否定，于他而言，不过是对内心既定判决的冰冷回响，一种残酷的确认仪式 。
因此，一个如此根植于自我憎恶与存在性否定的个体，口吐极端之言、周身萦绕 浓烈的自毁气息，实乃逻辑的必然。
他并非走向毁灭——他正持续地进行着自我毁灭的实践。
而尤为值得玩味的是，当雨果与莱卡恩共同创立“反舌鸟”时，他所展现的姿态，他的野心，是让反舌鸟化为一柄高悬于所有为富不仁者头顶的达摩克利斯之剑 ，令其颤栗，并亲手重塑这个世界的规则 。
The intensity of such incidents is, in truth, limited in the harm they inflict upon Hugo. As previously stated—he is already deeply entrenched in the complete negation of his own existence, having long since nailed himself to the cross of a sinner.
The doubts or denials of others are, to him, merely a cold echo of the verdict already passed within his heart—a cruel ritual of confirmation.
Thus, for an individual so deeply rooted in self-loathing and existential negation, it is a logical inevitability to utter extreme words and be shrouded in an intense aura of self-destruction.
He is not heading toward destruction—he is continuously practicing self-destruction.
And what is particularly worth pondering is that when Hugo co-founded the "Mockingbirds" with Lycaon, the posture he displayed, his ambition, was to transform the Mockingbirds into a Sword of Damocles suspended above the heads of all the heartless rich, to make them tremble, and to personally reshape the rules of this world.
（他那一刻不愿意后面被证明——他无意间听到的对话，以及莱卡恩因老杰克嘱托而保持的沉默。）
这番话并非反舌鸟核心理念的宣言，而是雨果个人的野心蓝图 ——一个可利用以实现其深层目标的工具（重塑一个公平的世界）。值得玩味的是，即便在这份锋芒毕露的野心中，他也并未将“富人”全然妖魔化，其核心诉求更侧重于威慑与制衡。
试问，这份探求与野心之中，所追求的真的是一个具体结果吗？ 正如雨果渴望成为审判者并主张善恶有报，他实质上追求的真的是那个报应的终点吗？
他几乎未曾深入思考过“那么做之后”的实际后果——这种做法最终会导向何种局面？他似乎并未真正考量。
相反，他沉浸其中的是“过程”本身。 即便是他所施加的那种威压震慑，也更像是一种法律式的预先警告——它强调的是“如果你那么做，就会触犯规则”，而非对触犯规则后所产生社会结果的关切。
人类对“善恶有报”这种朴素正义的追求，其核心贡献恰恰在于催生了最早的成文律法体系——例如《汉谟拉比法典》。这部法典的意义，正在于它将正义的诉求转化为一套公开的审判与裁断的程序。
因此，雨果所追求的，与其说是某个确定的结果（报应），不如说是律法本身的存在及其运作过程——是由他来定义规则、由他来执行审判、由他来进行裁断的这一整套权力行使的流程。
这追求的显然不是结果（报应本身），而是纯粹的程序本身。
当然，这些（指雨果早期的审判者野心）在他转变了想法、不再想当审判者之后，已经彻底转化为让群众来审批了。
如果有幸抽到雨果，在他自述野心的时候，就会看到他想要把人捉来，然后让群众来审判，由群众决定他们该怎么受罚。
更微妙的是，他一面嘲弄着莱卡恩的理想，一面却坚定地牵起对方的手，共同踏上“行侠仗义”之路。这矛盾的行为本身，已然昭示：他内心深处，从未真正否定莱卡恩信念的价值。
驱动雨果曾经前行的核心，是其灵魂深处盘踞的黑暗深渊。他确然是攀附着对“恶”蚀骨的仇恨，才得以在绝望的废墟上挣扎。这焚尽一切的恨焰，既是讨伐与复仇的引擎，亦是灼烤其灵魂的狱火。他生来便是一柄淬炼于仇恨的凶刃（如其影画称号“仇恨之子”这冷酷注脚所示）——刃锋所向，必溅敌血亦染己身。
但有趣的是内心充满仇恨的之火的人，他的属性是冰，本质上而言是水属性，是攻击形式出现的水。正如本文开头上，他是月。而月正是地球潮起潮落重要因素之一，多变的月相，正如他的怪盗十二面相。
不过佛教有一个地方“红莲地狱”，虽然一般会被当成火，但实际那个地方是八寒地狱，受难者会因严重冻伤而皮肤开裂渗血，犹如打开一朵红色莲花
然而，正如至理所示：极致的恨意，其核心必然是曾经盛大却惨遭蹂躏的爱。这被仇恨扭曲的爱，不仅指向他的过往，也微妙地映射在他对莱卡恩特质的珍视上——那正直、良善与信念的光辉，正是他内心深处未曾熄灭的对“美好”与“纯粹”的隐秘渴求。
(At that moment, he was unwilling to later be proven—by the conversation he accidentally overheard, and by Lycaon’s silence kept at Old Jack’s request.)
These words were not a declaration of the Mockingbirds’ core philosophy, but Hugo’s personal blueprint of ambition—a tool he could utilize to achieve his deeper goal (reshaping the world into fairness). It is worth noting that even in this sharp-edged ambition, he did not wholly demonize the “rich”; his core appeal leaned more toward deterrence and restraint.
So, within this pursuit and ambition, is it truly a concrete outcome he seeks? Just as Hugo desires to become a judge and insists on “retribution for good and evil,” is what he genuinely pursues really that endpoint of retribution itself?
He has almost never deeply considered the actual consequences of “what comes after”—what kind of outcome would such actions ultimately lead to? He does not seem to have truly pondered it.
Instead, what he immerses himself in is the process itself. Even the kind of intimidating pressure he exerts resembles more of a legalistic pre-warning—it emphasizes “if you do that, you will violate the rules,” rather than concern for the societal results that follow a breach of rules.
Humanity’s pursuit of the simple justice of “retribution for good and evil” has, at its core, contributed precisely to the birth of the earliest written legal systems—such as the Code of Hammurabi. The significance of this code lies in its transformation of the demand for justice into a public procedure of judgment and sentencing.
Therefore, what Hugo pursues is not so much a definite outcome (retribution itself), but rather the very existence and operation of the law itself—the entire process of exercising power: him defining the rules, him conducting the trial, him delivering the verdict.
What is pursued here is clearly not the outcome (retribution itself), but the pure procedure.
Of course, these (referring to Hugo’s early ambition as a judge) have, after he changed his mind and no longer wished to be a judge, completely transformed into letting the masses conduct the trials.
If one is fortunate enough to “draw” Hugo, during his recounting of his ambitions, one will see that he wants to capture people and then let the masses judge them, allowing the people to decide how they should be punished.
Do you think he actually wants to be Mayor or not~?
More subtly, while mocking Lycaon’s ideals, he nevertheless firmly takes the other’s hand and embarks on the path of “chivalrous justice” together. This contradictory act in itself reveals: deep within, he has never truly denied the value of Lycaon’s beliefs.
The core that once drove Hugo forward was the dark abyss entrenched in the depths of his soul. It was indeed by clinging to his bone-deep hatred for “evil” that he managed to struggle atop the ruins of despair. This all-consuming flame of hatred was both the engine of his crusade and vengeance, and the prison-fire scorching his own soul. He was born a blade tempered in hatred (as noted by his epithet “Son of Hatred”)—a blade whose edge, when directed, would inevitably spill enemy blood and stain itself.
Yet interestingly, the attribute of one whose heart is filled with the fire of hatred is ice; in essence, it is the water element, manifesting as an offensive form of water. Just as noted at the beginning of this text, he is the moon. And the moon is a crucial factor in Earth’s tides—its ever-changing phases mirror his twelve faces as a phantom thief.
A full moon only occurs when the Earth, moon, and sun are aligned.
There is a concept in Buddhism called the “Red Lotus Hell.” Though often mistaken for a fiery hell, it is actually one of the Eight Cold Hells, where sufferers experience severe frostbite causing their skin to crack and bleed, resembling the blooming of a red lotus.
However, as a profound truth states: The core of extreme hatred must inevitably be a once-grand, yet brutally trampled, love. This love, twisted by hatred, not only points to his past but also subtly reflects his cherishing of Lycaon’s qualities—that radiance of integrity, goodness, and faith is precisely the secret yearning for “beauty” and “purity” that has never been extinguished deep within him.
我们并没有太多关于年少时期的莱卡恩资料，好在莱卡恩并没有改变多少。
在这场1.6争吵中，莱卡恩重申他对自己原则的不改。
We do not have much information about Lycaon in his youth, but fortunately, Lycaon has not changed much.
During the argument in Chapter 1.6, Lycaon reaffirms his adherence to his own unchanged principles—this steadfastness is the very thing that, despite all disagreements, ultimately allows him and Hugo to stand on the same ground, sharing a common goal.
回顾事件，一个关键矛盾浮现：雨果嘴上喊得震天响，行动上却始终留有余地。他既未真正拒绝将目标移交治安局，也从未在有能力时痛下杀手——他的愤怒宣言与克制行为，构成了鲜明的分裂。
反观莱卡恩，雨果对其“圣父综合征”（过度宽容、无原则原谅、脱离现实的自我牺牲、道德优越感、是非不分、慷他人之慨）痛斥。讽刺的是，当雨果付诸暴力时，这位“圣父”全程静观其变，未置一词阻拦——他不仅没有试图阻止雨果的殴打，反而像是默许甚至预留了这段“情绪宣泄”的时间窗口，直到雨果的暴力行为告一段落，才适时提出移交治安局的方案。 这种“先放任发泄，后理性收场”的模式，清晰暴露了莱卡恩行为逻辑的核心：他对雨果的暴力行动本身（至少在达到某个他默认的阈值前）并不视为必须拦截的“错误”，而是某种需要被“管理”和“引导”的情绪过程。 莱卡恩自身这套矛盾而冷酷的“干预哲学”，恰恰是这场失控的重要推手。
更荒诞的是，这场激烈对骂的本质，竟是两个立场重叠者在完全错位的频道上隔空嘶吼。他们针对的是同一核心事件，底层诉求甚至存在共识，却被滔天的情绪彻底吞噬了理智与观察力。雨果沉浸于控诉，莱卡恩则彻底丧失思考能力，只剩下对人不对事的激烈反应——一次“你说城门楼子，我说胯骨轴子”的经典情绪爆炸。
表面看，莱卡恩虔诚恪守老杰克“不取性命”的遗训。但仅此一条，只会造就空洞的“圣父”姿态。
剖开这只纯白巨狼，内里怪黑的。 他对雨果暴力行为的放任（不拦截）与后续的“理性”处理（移交治安局），正是这种逻辑的绝佳体现——他划定了自己可接受的“发泄”边界（不致死），在此范围内，他选择冷眼旁观，甚至将其视为一种必要的情绪疏导；只有触及他设定的底线（如可能致死或引发更大麻烦），他才会启动“解决方案”。
深究维多利亚家政那耀眼的“百分百好评率”，其基石并非万能，而是精密的客户筛选机制。他们会断然拒绝不合规的委托（如花店活动中宁肯任务失败也不妥协权贵），本质是只承接可控、可预测且符合其价值观的任务。这与其说是客户选择他们，不如说是他们在暗中筛选、定义着自己的服务边界与“完美”客户群。这种“选择性干预”与“选择性服务”一脉相承——他只介入他认为必要且可控的部分（如移交治安局），对符合其“流程”或“可容忍范围”的行为（如雨果的暴力发泄），则选择置身事外。
这逻辑延伸至秘闻中他谦卑地呼唤“主人”，宣传语宣称“一旦选定主人，便献上绝对忠诚”。
但这谦卑本身即是烟雾——是他选择了效忠对象，而非被对方选择。
他赋予对方的“高高在上”，本质是一场精心编排的幻象。主导权与选择权，始终牢牢握在他自己手中。那份极致的忠诚，其前提与范围，由他定义。同样，在与雨果的互动中，看似是雨果在主导暴力，实则是莱卡恩在幕后设定框架（允许发泄到何种程度、何时介入、以何种方式收场）。
他并未真正交出控制权，只是暂时退居幕后，观察并管理着事态的发展。
莱卡恩通过精密算计维持的“百分百好评率”，与好友雨果惊人地相似。莱卡恩从未放弃主动权和主导权，他始终是紧握缰绳的驭手，而非随波逐流的浮萍。这不可避免地赋予他一种隐形的上位者姿态，我们甚至能窥见其大家长式的作风（非贬义）。
这份“任性”与掌控的底气，根植于他背靠的庞然大物——梅芙劳尔家族，即市长势力。这层关系决定了：市长的核心利益，即是维多利亚家政的存续根基，也必然符合莱卡恩的根本诉求。
但维多利亚家政的主人刚好叫五月花，维多利亚（英国）是五月花（美国）的狗……一瞬间不知道骂了谁，但确实缺德笑话。
Looking back at the events, a key contradiction emerges: Hugo's words roar like thunder, but his actions always hold back. He never truly refuses to hand over targets to the authorities, nor does he ever take a life when he has the ability to do so—his declarations of rage and his restrained behavior form a stark split.
In contrast, Lycaon is lambasted by Hugo for his "savior complex" (excessive tolerance, unprincipled forgiveness, unrealistic self-sacrifice, moral superiority, blurred lines between right and wrong, and generosity at others' expense). Ironically, when Hugo resorts to violence, this "savior" stands by silently, offering no word of intervention—not only does he not attempt to stop Hugo's assault, but he seems to tacitly allow or even reserve this "emotional release" window until Hugo's violent act subsides before proposing the plan to hand the matter over to the authorities. This pattern of "first permitting the outburst, then rationally concluding" clearly exposes the core of Lycaon's behavioral logic: he does not see Hugo's violent actions themselves (at least up to a certain threshold he tacitly accepts) as a "mistake" that must be intercepted, but rather as an emotional process that needs to be "managed" and "guided." Lycaon's own contradictory and cold "intervention philosophy" is precisely a major driver of this失控.
Even more absurd is that the essence of this fierce argument is two individuals with overlapping positions shouting at each other on completely misaligned frequencies. They are addressing the same core incident, with underlying demands that even share common ground, yet they are utterly consumed by overwhelming emotion, losing all rationality and observational clarity. Hugo immerses himself in accusation, while Lycaon completely loses his ability to think, reacting only with intense, person-focused responses—a classic case of "emotional explosion" where neither truly hears the other.
On the surface, Lycaon devoutly adheres to Old Jack's teaching of "not taking lives." But this alone would only result in an empty "savior" posture.
Beneath the pure white exterior of this giant wolf lies something remarkably dark. His permissiveness toward Hugo's violence (non-intervention) and his subsequent "rational" handling (handing over to the authorities) are perfect manifestations of this logic—he defines the boundaries of acceptable "venting" (non-lethal), and within those limits, he chooses to watch coldly, even viewing it as necessary emotional release. Only when his set底线 (such as potential lethality or greater complications) is breached does he activate his "solution."
Delving deeper, the gleaming "100% satisfaction rate" of Victoria Housekeeping is not built on omnipotence but on a precise client-screening mechanism. They firmly refuse non-compliant requests (as seen in the flower shop event, where they preferred mission failure over compromising with the powerful), essentially taking on only controllable, predictable tasks that align with their values. This is less about clients choosing them and more about them covertly筛选, defining their service boundaries and "perfect" clientele. This "selective intervention" and "selective service" are of the same vein—he only involves himself in what he deems necessary and controllable (like handing over to the authorities), while remaining detached from behaviors that fit his "process" or "tolerable range" (like Hugo's violent outburst).
This logic extends to the秘闻 where he humbly calls out "Master," and the promotional claim that "once a master is chosen, absolute loyalty is offered."
But this humility itself is a smokescreen—he is the one who chooses whom to serve, not the other way around.
The "elevated status" he grants the other is essentially an elaborately staged illusion. The power of initiative and choice always remains firmly in his own hands. The premise and scope of that utmost loyalty are defined by him. Similarly, in his interactions with Hugo, while it appears Hugo主导 the violence, it is actually Lycaon setting the framework behind the scenes (how much venting is allowed, when to intervene, how to conclude).
He never truly relinquishes control; he merely steps back temporarily, observing and managing the situation's development.
Lycaon's "100% satisfaction rate," maintained through精密算计, is strikingly similar to his friend Hugo's methods. Lycaon never abandons initiative or dominance; he remains the driver holding the reins, not a drifting piece of flotsam. This inevitably grants him an invisible posture of superiority, and we can even glimpse his paternalistic tendencies (not necessarily贬义).
The底气 for this "willfulness" and control is rooted in the behemoth backing him—the Mayflower family, i.e., the Mayor's faction. This relationship dictates that the Mayor's core interests are the foundation of Victoria Housekeeping's survival and must align with Lycaon's fundamental demands.
But Victoria Housekeeping's master happens to be named Mayflower… Victoria (Britain) is the dog of Mayflower (America)… For a moment, it's unclear who is being insulted, but it's certainly a wicked joke.
As Hugo said back in Chapter 1.6…
这话语背后，未尝不是对莱卡恩与市长利益深度捆绑的一种辛辣映射。
TOPS与市政厅也是一对怨偶，TOPS作孽但你市政厅税收与就业率到底还想不想要呢~没有税收怎么维持市政体系？所以市政厅必将容忍TOPS的恶，并永远无法真正消灭TOPS。现实有现实解法，在这个故事中，军权都搞不定市政厅还是洗洗睡吧。
因此，莱卡恩绝不会做出任何实质性损害市长利益的行为，正如他不会自毁长城。 这并非源于愚忠，而是生存与权力的铁律。
然而，在这条不可逾越的红线之下，莱卡恩展现了令人玩味的灵活性：
初登场时对入侵者的审讯威胁游走在恫吓边缘，最终是否“网开一面”，真的谁知道呢。
救助芮恩事件更是典型。他搬出“雇主”名头，细察之下却发现其理由与雇主诉求毫无逻辑关联——这不过是块精心挑选的“垫脚石”。正如档案称其“理性与理智”，但真正理性者岂会做出如此牵强的逻辑跳跃？他惯于用此类“垫脚借口”介入事件，无论动机是私心稍重还是任务需求略强。
讽刺的是，这位精于算计的掌控者，骨子里竟意外地藏着颇具分量的正义感与热心肠（尽管总以雇主为遮羞布）。市长在此刻成了他最趁手的“工具人”——当维护市长利益通常要求置身事外（理性的最优解）时，他却屡屡选择更感性、更“不理性”的道路：要维护正义。
Behind these words lies a sharp reflection of Lycaon's deep entanglement with the Mayor's interests.
TOPS and the City Hall are also a pair of contentious partners. TOPS commits atrocities, but does City Hall still want its tax revenue and employment rates or not~? Without taxes, how can the municipal system be maintained? Thus, City Hall is forced to tolerate TOPS's evils and can never truly eradicate TOPS. Reality has its own solutions—in this story, if even military power can’t handle it, City Hall might as well give up and go to sleep.
Therefore, Lycaon would never take any action that substantively harms the Mayor's interests, just as he would never undermine his own foundation. This stems not from blind loyalty, but from the iron laws of survival and power.
Flexible Maneuvers and "Stepping-Stone" Justice Under the "No Killing" Principle:
Yet, beneath this unbreachable red line, Lycaon reveals intriguing flexibility:
During his debut, his interrogation threats against intruders skirted the edge of intimidation—whether he truly "showed mercy" in the end, who can say?
The incident rescuing Rui-en is even more典型. He invoked the "employer's" name, but upon closer inspection, his reasoning bore no logical connection to the employer's demands—it was merely a carefully chosen "stepping stone." As his profile describes him as "rational and理智," would a truly rational person make such a forced logical leap? He habitually uses such "stepping-stone excuses" to intervene in events, whether motivated by slightly heavier personal inclination or somewhat stronger task requirements.
The Warm-hearted "Tool-User" Mayor
Ironically, beneath this calculating strategist lies a surprisingly weighty sense of justice and warm-heartedness (though always cloaked in the employer's guise). The Mayor becomes his most convenient "tool-person" at such moments—when maintaining the Mayor's interests typically calls for staying aloof (the rational optimal solution), he repeatedly chooses the more emotional, more "irrational" path: upholding justice.
莱卡恩的谈吐常带着一种奇特的“中二”仪式感，但细究其日常语言风格，更像是堆砌着大量模块化、无实质内容的填充词，只在冗长表述中零星夹杂一两句关键信息。这极易让人联想到某些力求“绝对正确”却空洞无比的政府公文模板。考虑到团队成员（如圆鲨鲨尚在高中），本应调整沟通方式以便信息高效传达——在“贴心适配”与“不干人事的死板”之间，他毅然选择了后者。
Lycaon's manner of speaking often carries a peculiar sense of "chuunibyou" ritualism. However, upon closer examination, his daily language style resembles a pile of highly modular, substance-lacking filler words, with only a few key pieces of information scattered amidst lengthy expressions. This easily brings to mind certain government document templates that strive for "absolute correctness" yet remain utterly hollow. Considering that team members (such as Round Shark Shark, who is still in high school) would require adjusted communication methods for efficient information delivery—between "thoughtful adaptation" and "rigid, impractical formalism"—he resolutely chose the latter.
圆鲨鲨这句“任务说明太长了，我没看。”堪称神来之笔，瞬间将莱卡恩的“死板老干部”形象烙印在玩家心中。虽然后续剧情揭示这与其精于算计、灵活务实的本性相去甚远，但结合他在秘闻中连手机操作都显生疏的“科技苦手”表现，这种表象竟也奇异地自洽了——一种带着荒诞感的“人设统一”。
然而，正是这位操作笨拙的“老干部”，却能在反舌鸟甫一于网络活跃之际，便精准捕获其踪迹。唯一的合理解释是：他进行了高强度、地毯式的持续搜索，甚至可能养成了长期“视奸”的习惯。这种超乎寻常的关注度，其根源绝非泛泛的监控——他锁定的真正目标，始终是反舌鸟背后那个让他无法释怀的身影：雨果。 一个连手机都摆弄不熟的科技苦手，却能近乎偏执地追踪着与雨果相关的痕迹，这种近乎“疯狂”的行为模式，恰恰暴露了他对雨果那份难以言喻、却又高度聚焦的关注。
技术能力的匮乏与信息获取的敏锐执着，构成了极具讽刺张力的反差。
游戏虽对雨果着墨更深，但雨果恰是解锁莱卡恩复杂性的关键钥匙。前期莱卡恩以“优雅”著称，塑造多围绕其“非典型执事”与“行走说明书式老干部”形象（抱歉了莱卡恩！）。但这“死板”绝非其行为本质。
圆鲨鲨的“主要控制新闻就可以，其他无所谓”能成为团队行动准则，本身就宣告了莱卡恩对形式与程序的漠视。
无论是圆鲨鲨简单粗暴地将人打晕，还是初登场时可琳武器故障频发，其团队运作充满了混乱、随意与不完美，与“纪律”、“精准”毫不沾边。然而吊诡的是，他们总能在混乱中达成相对满意的结果。
这绝非遵循程序的产物，而是赤裸裸的结果主义。莱卡恩——这只深藏不露的大尾巴狼——骨子里毫无教条主义枷锁。他的标准与手段极尽灵活，只要能导向预期目标，形式、规则皆可变通。
所谓的“程序”与“纪律”，于他不过是可随意裁剪的工具，从来不是目的本身。
如果你有幸在游戏中抽选到莱卡恩作为角色，并在信任度达到最高的任务阶段，他会带你一同跃上天台。然而，他对此举（擅闯民宅）毫无自知之明，表现得理所当然。
反观雨果： 在类似情境下，他则会提醒你“这是违法行为”，但同时表示“放心，我不会供你出去”。
这种“表面秩序井然，内里灵活变通”的作风，（其深层逻辑仍需回溯前文分析）。而当我们想起这位优雅执事竟会默默参加“犬科甩尾巴表演会” 时，一切便豁然开朗——他哪是什么古板正经的狼？分明是只深藏不露的大闷骚！
莱卡恩对所有人维持着滴水不漏的礼节性温度，却绝不越界的亲近。这“中央空调式”的周全，配合他那近乎“批发式主人”的筛选逻辑（基于利益与可控性），暗示了一个冰冷的事实：恐怕无人真正驻留其心——市长自然除外（那是权力的共生体，意义截然不同）。
试问： 如果莱卡恩真如他表现出的那点轻微洁癖（对“纯粹性”的要求）那样在意，他又如何能够忍受这一切？ 在如此漫长的共处时光中，甚至对这位“故人”念念不忘——这恰恰表明，他并未真正执着于那些表面的“原则”。只要最终结果符合预期，他完全可以接受过程中的事实（包括雨果的仇恨与野心）。
正如维多利亚家政所展现的： 即便过程混乱不堪，只要最终结果正确，他就能接受。
"不取人命"原则也非程序正义，而是扼制恶果的必要枷锁。
莱卡恩从未对雨果父亲的死亡本身表达异议（即不认为其“不该死”）。他批判的核心在于雨果为满足私欲而牵连众多无辜者丧生。这与某些作品中常见的“原谅论”截然不同——莱卡恩明确对雨果家族整体持否定态度，并视其为导致雨果扭曲堕落的根源。
令人联想到卡米尔那句：“我不想他一辈子活在家族阴影之下”。
当然要说莱卡恩的当时一下子跳槽的选择的话，从故事文本来看。
Round Shark Shark's line, "The mission briefing was too long, I didn't read it," is a stroke of genius, instantly branding Lycaon's image as a "rigid, old-guard bureaucrat" in the players' minds. Although later plot reveals this to be far from his true calculating, flexible, and pragmatic nature, combined with his struggles with even basic phone operations in the秘闻—portraying him as "technologically challenged"—this surface impression somehow achieves a bizarre self-consistency: a kind of absurd "character unity."
However, it is this very same clumsy "old guard" who managed to accurately track the Mockingbird's trail the moment it became active online. The only plausible explanation is that he conducted high-intensity, carpet-like, continuous searches, possibly even developing a long-term habit of "silent observation." This extraordinary level of attention is far from generalized surveillance—the true target he locked onto was always the figure behind the Mockingbird, the one he couldn't let go of: Hugo. A tech-challenged individual who struggles with phones, yet obsessively traces any mark related to Hugo—this near-"insane" behavioral pattern precisely exposes his indescribable yet intensely focused attention toward Hugo.
The lack of technical skill contrasted with acute, persistent determination in gathering information creates a powerfully ironic tension.
Procedural Justice? No, It's the "Elegant Art of Chaos"~
Although the game delves deeper into Hugo's perspective, Hugo is precisely the key to unlocking Lycaon's complexity. In the early stages, Lycaon is known for his "elegance," with portrayals mostly revolving around his "atypical butler" and "walking instruction manual old-guard" image (sorry, Lycaon!). But this "rigidity" is by no means the essence of his actions.
The fact that Round Shark Shark's principle of "just control the news coverage, the rest doesn't matter" could become the team's operational guideline itself declares Lycaon's disregard for form and procedure.
Whether it's Round Shark Shark simply knocking people out or Corrin's weapon frequently malfunctioning during their debut, the team's operations are filled with chaos, randomness, and imperfection—utterly detached from "discipline" or "precision." Yet, paradoxically, they always manage to achieve relatively satisfactory outcomes amidst the mess.
This is not the product of following procedures, but blatant consequentialism. Lycaon—this deeply concealed, big-tailed wolf—is fundamentally free from the shackles of dogma. His standards and methods are extremely flexible; as long as they lead to the desired outcome, forms and rules can be adjusted.
The so-called "procedure" and "discipline" are, to him, merely tools to be tailored at will—never ends in themselves.
If you are fortunate enough to select Lycaon as a character in the game and reach the highest level of trust in a mission phase, he will take you leaping onto a rooftop together. However, he shows no awareness whatsoever that this action (trespassing) is problematic, behaving as if it's completely natural.
In contrast, Hugo: In a similar situation, he would remind you that "this is illegal," but immediately add, "Don't worry, I won't give you away."
The comparison between their behaviors speaks volumes.
This "surface orderliness, internal flexibility" approach (its deeper logic still requires revisiting the earlier analysis). And when we recall that this elegant butler would quietly attend a "Canine Tail-Wagging Performance Show," everything becomes clear—what kind of stiff, serious wolf is he? He's clearly a deeply hidden, massive闷骚!
Lycaon maintains impeccable, polite warmth toward everyone, yet never crosses the line into genuine closeness. This "central air-conditioning" style of周全, combined with his nearly "wholesale master-selection" logic (based on benefit and controllability), hints at a cold truth: perhaps no one truly resides in his heart—the Mayor, of course, is excepted (that is a symbiosis of power, entirely different in significance).
Consider this: If Lycaon truly cared about even his mild洁癖 (the requirement for "purity") as he appears to, how could he endure all this? Over such a long period of coexistence, even harboring this lingering attachment to his "old friend"—this precisely indicates that he is not truly attached to those surface "principles." As long as the final outcome meets expectations, he can fully accept the factual process (including Hugo's hatred and ambitions).
Just as Victoria Housekeeping demonstrates: Even if the process is a complete mess, as long as the final result is correct, he can accept it.
The "no killing" principle is also not about procedural justice, but a necessary shackle to遏制 the worst outcomes.
Lycaon never expressed opposition to the death of Hugo's father itself (i.e., he doesn't believe he "didn't deserve to die"). His core criticism lies in Hugo sacrificing numerous innocent lives to satisfy personal desires. This is distinctly different from the common "forgiveness trope" found in some works—Lycaon clearly holds a negative view of Hugo's family as a whole, seeing it as the root cause of Hugo's扭曲 and堕落.
It brings to mind Camille's line: "I don't want him to live his whole life under the shadow of his family."
As for Lycaon's decision to jump ship at that time, based on the story text…
从文本细节推断，莱卡恩在决裂前很可能已拒绝过市长的邀请。他决裂时那句“随便哪里”绝非深思熟虑的投诚宣言，更像是绝望与愤怒驱使下的气话。随后事件的急剧恶化（决裂夜），才使得投靠市长成为顺理成章的现实选择。
因此，他那一刻绝非是理性判定“市长绝对正确，雨果绝对错误”后彻底倒戈。
莱卡恩从未提及市长给予过任何“理想主义画饼”。市长人设常见提出的始终是明确的合作条件与目的交换（实用主义利益驱动），而非宣扬自身道德崇高。
即使在莱卡恩自己的客观描述中，其选择也始终遵循“雨果的选择（决裂夜）→ 导致我的选择（接受市长）”这一因果链。
并且，可以清晰地看到：莱卡恩选择的正当性及其支撑点，根本来源恰恰在于雨果。
因为是雨果率先违背了誓言，所以他的“背叛”行为才具有正当性。
维多利亚家政，他们行动时，会经常使用雇主的指令或要求作为其正当性来源。
如果说这件事必然与市长有关，那就在于可以通过市长来实现目标：“让普通人获得平等保护，而非仅为权贵服务”的目标——这本质上反对特权，维护普通人权责对等，是公平、平等维护者而非破坏者。
这进而强化了对秩序的维护——无论身份如何，所有人都必须遵守规则，同时也平等享有规则赋予的权利。权责对等。
并站在律法这一端，善有善报恶有恶报也将会在这个律法之下得以真正实现。
雨果针对TOPS等组织的行动，其行为逻辑（如同“害虫清除”）意外地支持了维护大众利益的体系目标——这令“道不同”的辩解显得苍白。
莱卡恩未选择更“正统”的治安局，而是加入自主权更高、专司规则之外问题的维多利亚家政（清洁工），其目标（清除特定威胁）与雨果高度重合。两者手段（法外行动、缺乏监管的调查与清除）具有同一性，注定未来存在“抢活儿”的冲突可能。
因此，选择市长或市政厅服务本身并非目的，它们只是达成目的（维护平等权利与秩序）的一种手段。
莱卡恩对市长的忠诚绝非盲目。市长本身也非某种“信念实体”——其个人品行的善恶，与他政策决策的优劣并无必然联系。关键在于，市长若要坐稳位置，就必须保护市民、维护现有体系，进而不得不为大众利益服务，做出对群体最优的选择。这才是驱动其行为的核心逻辑。
至于市长被视作“特别”，这本身正是另一场“渡鸦悖论”的体现：当权贵群体被预设为全然的“黑”，其中出现的任何一点“白”（市长），都会被划入“例外”范畴。这本质上仍是认知的陷阱，而非对复杂现实的真正理解。
雨果的言行（包括主线提醒）推动了莱卡恩认知的修正，学会接受世界的复杂灰度，理解“白渡鸦”无需被奉为特例，关键在于辨识并坚守自身价值。
莱卡恩对市长也绝非毫无保留。 莱卡恩从未向市长或治安局透露雨果姓名及反舌鸟核心情报。
相反，他以私人身份介入与反舌鸟相关的事件。即使在1.6-1.7主线中市长的介入，也并非源于莱卡恩的主动报告，而是情势所迫下的无奈之举。即便如此，他依然严格向市长隐瞒了一切与雨果直接相关的信息——薇薇安的情报，完全是市长通过自身渠道获取的。
From the details in the text, it can be inferred that Lycaon had likely already rejected the Mayor's invitation before the final rift. His statement of "anywhere" during the breakup was far from a calculated pledge of allegiance; it was more like a desperate, angry outburst driven by despair and fury. The rapid deterioration of events (the night of the rift) is what made seeking shelter with the Mayor the logical, practical choice that followed.
Therefore, in that moment, it was absolutely not a rational decision of "The Mayor is absolutely right, Hugo is absolutely wrong" followed by a complete defection.
Lycaon never mentioned the Mayor offering any "idealistic promises." The Mayor's established persona consistently presents clear terms of cooperation and transactional purposes (pragmatic, interest-driven), not claims of personal moral superiority.
Even in Lycaon's own objective descriptions, his choice consistently follows the causal chain: Hugo's choice (the night of the rift) → leads to my choice (accepting the Mayor).
The Mayor serves more as an instrumental pivot for opposing Hugo and advancing his own goals.
Furthermore, it is clear to see: the source of legitimacy for Lycaon's choice and its justification lies precisely in Hugo.
Because it was Hugo who broke the vow first, Lycaon's act of "betrayal" gains its legitimacy.
And "legitimacy" is something City Hall craves intensely.
Victoria Housekeeping, in their operations, frequently uses the employer's instructions or demands as the source of their legitimacy.
If this matter is inevitably tied to the Mayor, it lies in the ability to achieve the goal through him: "to allow ordinary people to receive equal protection, not just serve the powerful"—a goal that is inherently opposed to privilege, upholds equal rights and responsibilities for ordinary people, making him a protector of fairness and equality, not a destroyer.
Corruption within the system, of course, is another matter.
This, in turn, reinforces the maintenance of order—everyone must abide by the rules regardless of status, while also equally enjoying the rights granted by those rules. Rights correspond to responsibilities.
And equality, fairness, are precisely the core ideals of the Mockingbird.
Standing on the side of the law, the principle of "good rewarded, evil punished" can also be truly realized under this legal framework.
As for the situation of being "physically present in one camp but mentally loyal to another"…
Hugo's actions against organizations like TOPS, with their logic (akin to "pest eradication"), unexpectedly support the system's goal of protecting public interest—making the excuse of "different paths" seem weak.
Lycaon did not choose the more "orthodox" Public Safety Bureau, but joined Victoria Housekeeping (the Cleaners), which has higher autonomy and specializes in problems outside the rules. Their goal (eliminating specific threats) highly overlaps with Hugo's. Their methods (extra-legal actions, investigations and removals lacking oversight) share the same nature, destined to create potential future conflicts over "stealing each other's jobs."
Therefore, choosing to serve the Mayor or City Hall is not the end goal in itself; they are merely a means to an end (upholding equal rights and order).
Lycaon's loyalty to the Mayor is by no means blind. The Mayor himself is not some "entity of belief"—the goodness or wickedness of his personal character is not necessarily linked to the quality of his policy decisions. The key point is, for the Mayor to maintain his position, he must protect the citizens, maintain the existing system, and is thus compelled to serve the public interest, making choices optimal for the collective. This is the core logic driving his actions.
As for the Mayor being seen as "special," this itself is another manifestation of the "Raven Paradox": when the powerful are presupposed to be entirely "black," any speck of "white" (the Mayor) that appears among them is categorized as an "exception." This is, in essence, still a cognitive trap, not a true understanding of complex reality.
Hugo's words and actions (including reminders in the main story) pushed Lycaon to revise his cognition, learning to accept the complex grays of the world and understand that a "white raven" need not be enshrined as a special case; the key is to identify and steadfastly uphold one's own values.
Lycaon is by no means unreservedly devoted to the Mayor. Lycaon never revealed Hugo's name or core Mockingbird intelligence to the Mayor or the Public Safety Bureau.
On the contrary, he intervenes in Mockingbird-related incidents in a private capacity. Even in the main story of Chapters 1.6-1.7, the Mayor's involvement did not stem from Lycaon's active reporting, but was a forced move under the pressure of circumstances. Even then, he strictly withheld all information directly related to Hugo from the Mayor—Vivian's intelligence was entirely obtained by the Mayor through his own channels.
即使抛开老杰克的临终嘱托，试想：若你有一个情同手足、无话不谈（尽管有分歧）的挚友，有人预言他终将堕落。你会本能地想要拯救他吗？会感到恐惧吗？会愿意失去他吗？
任何拥有正常情感的人，面对长久相伴的挚友，答案必然是肯定的——希望对方安好，恐惧失去。因此，这个“预言”本身就如阴影般笼罩下来。
老杰克赋予莱卡恩的，正是这样一份沉重的责任（或可视为任务）：成为雨果的引导者与裁决者。这甚至是莱卡恩人生中的第一份重大责任，也使他多了一重身份：雨果的监视者与引导者。
这里暴露一个关键问题：老杰克的原则存在明显的矛盾与灵活性——他同时要求两个孩子“绝不杀人”，却又私下嘱托莱卡恩在“必要”时“杀少救多”。
这种牵制与被牵制的关系通常是相互的。更关键的是，传达这份矛盾责任的人（老杰克），是莱卡恩极度信任、敬畏且认可其信念的人。在老杰克与持有异议的雨果之间，莱卡恩天然更倾向于相信前者，何况他本就不认同雨果的“杀少救多”逻辑。
然而，莱卡恩内心又怀揣着对雨果的憧憬。这导致他必须思考如何履行责任：
益处是促使他成长为优秀的领导者，但致命弊端： 使他再也无法以客观、平等的视角看待雨果的一切。
当时的莱卡恩与雨果并不对等——雨果天赋卓绝，各方面都远超于他。莱卡恩唯一能与之抗衡的，或许只有力量/力气。
莱卡恩后来所做也是不断精进自身优势（力量），并拼命弥补短板，以追赶那个目标。
雨果为何被买下用作“刺激竞争的工具”？因为他身份，最终让沦陷更深是他的天赋——学什么都快。这份天赐之物，正如老杰克所言，并非纯粹的祝福。它天然招致妒忌与憧憬，成为拉文洛克激发竞争的核心燃料。
那么，莱卡恩为何没有对雨果产生强烈的竞争意识？他难道不想与雨果平起平坐，赢得对方真正的正视？哪怕只是让雨果将目光从他那深重的仇恨中，短暂地移开片刻，落到自己身上？ 这为我们提供了一个深挖其内心的线索。
对于雨果和莱卡恩，共同度过的时光都是少有的快乐与珍贵回忆。他们虽常争吵，却也互相扶持。这份宝贵的羁绊足以影响一生。
但与此同时，恐惧如蛇般在莱卡恩内心深处盘踞：一方面，他不愿相信雨果会堕落；另一方面，他也无法质疑老杰克的预言。
这种矛盾滋生恐惧，恐惧失去雨果，恐惧自己无法胜任“引导者”角色，恐惧最终沦为帮凶。
The Shadow of Old Jack's Prophecy
Even setting aside Old Jack's dying wish, consider this: If you had a sworn friend, close as a brother, with whom you shared everything (despite disagreements), and someone prophesied that he would ultimately fall into corruption… Would you instinctively want to save him? Would you feel fear? Would you be willing to lose him?
For anyone with normal emotions, facing a long-standing, deeply bonded friend, the answer is inevitably yes—you would hope for their well-being and fear losing them. Thus, the "prophecy" itself cast a shadow from that moment onward.
What Old Jack entrusted to Lycaon was precisely such a heavy responsibility (which could be seen as a mission): to become Hugo's guide and judge. This was likely the first major responsibility in Lycaon's life and added another layer to his identity: Hugo's watcher and guide.
This exposes a critical issue: Old Jack's principles contained obvious contradictions and flexibility—he demanded both children "never kill," yet privately entrusted Lycaon to "kill the few to save the many" when "necessary."
Such relationships of restraint and being restrained are usually mutual. More crucially, the person who conveyed this contradictory responsibility (Old Jack) was someone Lycaon deeply trusted, revered, and whose beliefs he endorsed. Between Old Jack and Hugo, who held opposing views, Lycaon was naturally more inclined to believe the former, especially since he himself disagreed with Hugo's "kill the few to save the many" logic.
However, Lycaon also harbored admiration for Hugo in his heart. This forced him to contemplate how to fulfill this responsibility:
The benefit was that it spurred him to grow into an excellent leader. But the fatal flaw was: It made it impossible for him to ever view Hugo objectively and as an equal again.
At that time, Lycaon and Hugo were not equals—Hugo was exceptionally gifted, surpassing him in nearly every aspect. The only thing Lycaon might have matched him in was perhaps physical strength/power.
What Lycaon later did was to continuously refine his advantage (strength) and desperately compensate for his weaknesses, all to catch up to that target.
Why was Hugo purchased to be used as a "tool to stimulate competition"? Because of his identity, but what ultimately made him sink deeper was his talent—he learned everything quickly. This heaven-sent gift, as Old Jack said, was not a pure blessing. It naturally invited envy and admiration, becoming the core fuel for Ravencroft to drive competition.
So, why didn't Lycaon develop a strong sense of rivalry toward Hugo? Didn't he want to stand as Hugo's equal, to earn his genuine regard? Even if just to make Hugo shift his gaze, however briefly, from his all-consuming hatred onto himself? This provides us with a clue to dig deeper into his psyche.
For both Hugo and Lycaon, the time they spent together was a rare source of happiness and precious memories. They often argued, but they also supported each other. This valuable bond was enough to influence a lifetime.
But simultaneously, fear coiled like a serpent in the depths of Lycaon's heart: On one hand, he did not want to believe Hugo would fall; on the other, he could not question Old Jack's prophecy.
This contradiction bred fear—fear of losing Hugo, fear of being inadequate as a "guide," fear of ultimately becoming an accomplice.
莱卡恩的正义感与原则绝不容许预言成真，他不能伤害人命，不能成为帮凶，更不能坐视雨果犯下恶行。与此同时，深厚的情感也让他绝不愿看到雨果受到伤害。这构成了他内心最深层的撕裂与痛苦。
尽管最终知晓了老杰克沉重的临终嘱托，雨果却依然选择与莱卡恩携手组建反舌鸟——这行动本身，就是一份沉甸甸的、近乎无条件的信赖宣言。 然而，那嘱托也如一道植入骨髓的禁令，死死禁锢了他彻底敞开心扉、将全盘计划交付信任的可能。这份信赖与禁锢的共生，构成了他们关系中最深刻的裂痕。
这种禁锢外化为雨果近乎偏执的控制欲与信息垄断本能。从1.6至1.7的诸多事件，直至决裂当天的风暴中心，他始终将关键谋划深锁于心底的暗匣。莱卡恩则如同被蒙眼引入雷区的盲者，对脚下真实的危机与任务的全貌茫然无觉——这正是老杰克嘱托所强化的不信任感在行动上的具现：他无法“彻底放开”，故选择“彻底隐瞒”。
“您所忧惧的深渊，我终将跨越；您珍视的良善，我必能守护。”
Did Lycaon ever truly trust Hugo?
Despite eventually learning of Old Jack’s grave dying wish, Hugo still chose to join hands with Lycaon and co-found the Mockingbirds—this act in itself was a weighty, almost unconditional declaration of trust. Yet, that wish also became a prohibition etched into his bones, firmly sealing off any possibility of him fully opening his heart or entrusting his entire plan to another. This coexistence of trust and confinement forms the deepest fissure in their relationship.
This confinement manifested externally as Hugo’s near-obsessive need for control and instinct to monopolize information. From the events of Chapters 1.6 to 1.7, all the way to the eye of the storm on the day of their rift, he kept critical plans locked away in the dark recesses of his heart. Lycaon, meanwhile, was like a blindfolded person led into a minefield—utterly unaware of the true dangers underfoot or the full picture of their mission. This is precisely how the distrust reinforced by Old Jack’s wish materialized in action: being unable to "fully let go," he chose to "fully conceal."
What Hugo yearned for was to prove to that "father"—
"The abyss you fear, I will eventually cross; the goodness you cherish, I will surely protect."
The prophecy will not come true.
Lycaon's trust in Hugo's fundamental nature was never mere words.
证据一：1.6剧情的辩护： 若莱卡恩当真不信雨果心存良善，当玩家质疑“雨果看起来不像好人”时，他绝不会以“家族的烙印影响了他”作为回应。
该剖析辩护本质：此言绝非简单的“开脱罪责”。它更像一种深沉的归因——宛如目睹挚友犯罪时，痛心疾首地指出：“看啊，是那些强加于身的枷锁扭曲了他！他本不该如此！” 这与冷硬的“无论何种缘由，犯罪即是犯罪”立场截然不同，饱含着莱卡恩近乎泛滥的、对“原本那个雨果”的痛惜与信念。
Evidence One: The Defense in Chapter 1.6
If Lycaon truly did not believe that Hugo retained a shred of goodness, he would never have responded to the player's doubt that "Hugo doesn't seem like a good person" by attributing it to "the mark left by his family."
Analysis of the Defense's Nature:
This statement is far from a simple "excuse for wrongdoing." It resembles more a profound attribution of cause—like witnessing a dear friend commit a crime and grievingly pointing out: "Look, it was the shackles forced upon him that twisted him! He was never meant to be this way!" This stands in stark contrast to the cold, rigid stance of "no matter the reason, crime is crime." It is saturated with Lycaon's overflowing sorrow and belief in "the Hugo that once was."
你甚至可以在EP里面找到一样的表达，莱卡恩的会念台词：
You can even find the same expression in the EP, where Lycaon recites the lines:
证据二：EP台词的情感逻辑：莱卡恩在EP中的控诉——“说话的人认为自己努力被辜负，被欺骗，眼前的人是骗子，让自己失望了”——其核心潜台词正是：“我一直那么努力去试图相信你，你辜负我一直以来的努力！”这份被背叛的愤怒与幻灭感，其前提恰恰是——他曾真的努力过，努力过相信雨果能够改变。即使他确实从未真的相信过雨果不是一个坏人，因为他依旧指责雨果本性从未改变。
Evidence Two: The Emotional Logic of the EP Lines
Lycaon’s accusation in the EP—“The one speaking feels their efforts have been betrayed, deceived; the person before them is a liar who has let them down”—carries a core subtext: “I tried so hard to believe in you, and you betrayed all that effort!” This anger and sense of disillusionment from betrayal fundamentally rests on one premise: he truly had tried, tried to believe that Hugo could change. Even if he never truly believed Hugo wasn’t a bad person, because he still insists that Hugo’s nature never changed.
即便背负着老杰克沉重的临终嘱托，莱卡恩依然选择与雨果共同创立反舌鸟。这绝非被动跟随，而是主动的、充满风险的精神投注。
信任的具象化：每一次并肩作战，每一次对理想的践行，都是莱卡恩无声的宣言：“我相信你选择的道路，我相信‘我们’能成功，我相信你——雨果——值得这份托付。”这份支持，早已超越搭档情谊，浸染着家人般的信赖。
但这与其说是“彻底的信任”，不如说他陷入了“渡鸦悖论”：他相信雨果是特殊的（能抵抗家族诅咒），却又被“雨果终将堕落”的预言阴影笼罩。
莱卡恩未必狂热认同反舌鸟事业，但绝对珍视与雨果共处的时光。他对雨果抱有深切期待——希望雨果信守承诺，雨果从没有骗过他。这使他更无法接受预言成真。
然而，他对如何履行“牵引之绳”的职责毫无头绪，甚至幼稚地依赖“背叛誓言者不得好死”这样的诅咒。
随着雨果日益强大，莱卡恩能否真正“牵引”雨果成为巨大疑问。客观的能力差距会令他深陷自我怀疑与挣扎。
他唯一的优势（力量）仅在捕获雨果时有效，且前提是吸引对方注意力。在其他方面即使屡次输给雨果，他仍在笨拙地努力。
雨果虽在行动上迁就莱卡恩（甚至愿意听从），但强势、控制欲强且沟通匮乏（如1.6-1.7及决裂夜：只要求配合，不解释缘由）。
莱卡恩隔着“预言”与“责任”的屏障，难以确认雨果的真实意愿，但沟通失败，雨果需承担主要责任（“长嘴不说话锅还是雨果自己背”）。
他需要雨果的信任、承认与关注。然而，雨果年轻时未将莱卡恩视为竞争对手，而是重要搭档，甚至能在后面雨果对其极度悔恨的心态能感受到，雨果绝对在很大程度上将莱卡恩视为要保护对象，而不是平等战友，在莱卡恩眼中他的目光聚焦于远方/仇恨。
在莱卡恩个人秘闻里面，当时的他已经三次导致任务失败这种情况事实上，将会加重莱卡恩对现实残酷的认知，他是一个受到雨果保护的人，他是被保护者，而非守护者。更不用去提抗衡以及牵引，雨果若失控，必是远超他能力范围的灾难——他注定无能为力。
莱卡恩却强烈渴望平等与雨果的注视（如秘闻夜谈或反舌鸟成立时，他会踢翻凳子打断雨果畅想以转移其注意力），他的努力方向正确但方法拙劣。
并且莱卡恩当时并不擅长精准控制力量。在紧急情况下，他很可能因无法控制力度而造成误判（如误以为杀人或误杀），这种事情如果发生在他要阻止雨果却失手，这一点就会更加让他难以接受。
Even bearing the weight of Old Jack's heavy final wish, Lycaon still chose to co-found the Mockingbirds with Hugo. This was far from passive compliance—it was an active, risky investment of faith made with clear awareness.
Trust Made Tangible: Every time they fought side by side, every step taken toward their shared ideal, was Lykaon's silent declaration: "I believe in the path you've chosen, I believe we can succeed, I believe you—Hugo—are worthy of this trust." This support transcended mere partnership, becoming tinged with a familial level of faith.
However, this was less "complete trust" and more his entrapment in a "Raven Paradox": He believed Hugo was special (capable of resisting the family's curse), yet remained shrouded in the prophetic shadow that "Hugo will ultimately fall."
Lycaon may not have fervently identified with the Mockingbird cause, but he absolutely cherished the time spent with Hugo. He held a deep-seated hope for Hugo—that Hugo would keep his promises, that Hugo had never lied to him. This made the potential fulfillment of the prophecy even more unbearable for him.
Yet, he had no clear idea how to fulfill his duty as the "guiding tether," even resorting naively to curses like "may an oath-breaker die wretchedly."
As Hugo grew increasingly capable, whether Lycaon could truly "guide" him became a massive question. The objective gap in their abilities plunged him into self-doubt and struggle.
His sole advantage (physical strength) was only effective for apprehending Hugo, and even that required first capturing Hugo's attention. In all other areas, despite repeatedly losing to Hugo, he continued to strive—clumsily but persistently.
While Hugo accommodated Lycaon in action (even willing to follow his lead at times), he remained dominant, controlling, and poor at communication (as seen in Chapters 1.6-1.7 and on the night of the rift: demanding cooperation without explanation).
With the barrier of the "prophecy" and his "responsibility" between them, Lycaon found it difficult to discern Hugo's true intentions. Yet, the failure in communication fell largely on Hugo's shoulders ("if you have a mouth but won't speak, the blame is still yours to bear").
Lycaon needed Hugo's trust, acknowledgment, and attention. However, in his youth, Hugo did not see Lycaon as a rival, but as an important partner—even later, Hugo's profound regret suggests he largely viewed Lycaon as someone to protect, not an equal comrade. In Lycaon's eyes, Hugo's gaze was fixed on the distant horizon/on his hatred.
In Lycaon's personal秘闻, the fact that he had already caused three mission failures by that point would have intensified his understanding of reality's harshness: he was someone protected by Hugo, the protected, not the protector. This made notions of抗衡 or guiding seem even more distant. If Hugo were to spiral out of control, it would be a disaster far beyond Lycaon's capacity to handle—he was destined to be powerless.
Yet, Lycaon strongly yearned for equality and Hugo's focus (as seen in the秘闻 night conversation or when founding the Mockingbirds—he would kick over a stool to disrupt Hugo's musings and redirect his attention). His efforts were in the right direction, but his methods were awkward.
Furthermore, Lycaon was not yet adept at precisely controlling his strength. In an emergency, he might easily misjudge due to an inability to modulate his force (e.g., mistakenly believing he had killed someone or actually causing accidental death). If this were to happen while he was trying to stop Hugo, the aftermath would be even more unbearable for him to accept.
而本该可以理解的他，被阴影彻底笼罩，雨果失手错杀从来不是问题所在。
真正的问题如同他自己陈述一般。
And he, who should have been able to understand, was completely shrouded in shadow. Hugo’s accidental killing was never the real issue.
The true problem, as he himself stated, is…
双方在关键问题上（如行为底线、对预言的态度）存在严重认知隔阂。 -共生与镜像 - 无法割裂的纽带
或许，最初的雨果并未笃信那份“借来的正义”，甚至视其为某种消遣。但在与莱卡恩并肩践行理想的漫长岁月里 ，在一步步将愿景化为现实的征途中，那份起初或许飘渺的“正义”，竟也在他掌心沉淀、结晶，最终化为他血肉的一部分 。
这是他们共同浇灌的梦想之树所结出的果实 ，承载着两人交融的意志与期盼。
正是在反舌鸟的旗帜下，在这份具象化的共同事业中 ，雨果第一次清晰地触摸到自身存在的价值与意义 。他不仅赢得了自我的肯定，更获得了来自他者的认同。反舌鸟对他而言，早已超越了一个抽象的理想；它成为了其自我价值得以实现的坚实舞台 。
（恰如莱卡恩秘闻中莉莉可的故事—— 当人寻得真正热爱并愿为之燃烧，便能挣脱旧日的枷锁 。）
自老杰克离世，莱卡恩便成为雨果生命中 除老杰克外唯一的精神向导与学习对象 。他们模组中那镜像般的踢腿动作（一左一右） ，绝非偶然——这非师承一脉的痕迹，而是经年累月并肩作战、心意相通后形成的独特默契，是他们精神共生体在战斗姿态上的呈现。
莱卡恩，早已在无声中融为雨果自我的一部分，是其灵魂与意志的延伸。
尽管莱卡恩坚决否定雨果被仇恨驱使的黑暗面向，但这否定从未指向雨果存在的本身 。恰恰相反，在日复一日的同行与并肩中，莱卡恩以最深沉的方式，持续地肯定着雨果作为“人”的根本价值与存在 。
He cannot accept this ending.
Lycaon’s fear of Hugo’s corruption runs deeper than Hugo’s own.
He struggles more than Hugo to accept this possibility.
A profound cognitive gap exists between them on critical issues—such as boundaries of action and attitudes toward the prophecy.
Symbiosis and Mirroring — An Inseparable Bond
Perhaps, in the beginning, Hugo did not fully believe in that “borrowed justice,” even viewing it as a kind of pastime. But through the long years of fighting side by side with Lykaon to realize their ideals, step by step turning vision into reality, that initially elusive sense of “justice” gradually settled and crystallized in his hands—eventually becoming part of his very flesh and blood.
This is the fruit borne of the dream-tree they watered together, carrying the blended will and hopes of both.
It was under the banner of the Mockingbirds, within this tangible shared endeavor, that Hugo first clearly touched the value and meaning of his own existence. He not only won self-affirmation but also gained recognition from another. For him, the Mockingbirds had long transcended an abstract ideal; they became the solid stage upon which his self-worth could be realized.
(Just like the story of Lilique in Lykaon’s秘闻—when one finds something they truly love and are willing to burn for, they can break free from the shackles of the past.)
And woven through all of this has always been Lykaon’s presence.
Since Old Jack’s passing, Lykaon became the only spiritual guide and reference point in Hugo’s life besides Old Jack himself. The mirrored kicking motions in their modules (one left, one right) are no coincidence—this is not the mark of a shared master, but a unique默契 forged through years of fighting side by side and understanding each other’s rhythms. It is the manifestation of their psychic symbiosis expressed in combat posture.
Lykaon had long since, silently, merged into part of Hugo’s self—an extension of his soul and will.
Although Lykaon firmly rejected the hatred-driven darkness within Hugo, this rejection was never aimed at Hugo’s existence itself. On the contrary, through day after day of walking and fighting together, Lykaon, in the deepest way, continually affirmed Hugo’s fundamental value and worth as a human being.
面对心魔模仿莱卡恩语气、指责其“被传染”并“强装大度”时，雨果的第一反应并非“别拿他跟我相提并论”（暗含“他不配与我比”的贬低），而是“别拿我与他相提并论”。
这两句话看似相似，含义却截然相反：前者是居高临下的否定，后者则是自惭形秽的谦卑。结合上下文，雨果并不认为自己能与莱卡恩比肩，更非否认对方价值。他真正的诉求是：我们本就不该被置于同一尺度衡量——他只是需要想清某些事情。至少在此刻，他言语间流露的并非贬损，而是对莱卡恩的深刻认可。
这种认可，对雨果的行为规范至关重要。莱卡恩的苛责（指出其不当之处），如同一面精准的镜子，帮助雨果修正偏差，避免其锋芒刺伤自身或他人。
雨果的思维常陷于强烈的主观漩涡，而莱卡恩的存在，恰恰为他提供了客观的校准坐标。后者能在关键时刻纠正其方向，助他维系一种难得的内心稳态。
正因如此，我们才能理解雨果最终与心魔和解时那句“一直很努力但他没办法，所以他接纳它们”的沉重含义。
他确实倾尽全力试图压制那些“丑陋”的念头——而这份努力的动力，以及最终选择“接纳”而非彻底消灭它们的转折点，莱卡恩的存在都是不可忽视的关键因素。
莱卡恩对维持“完美执事”的形象有强烈执念，但观察他的实际技能，远超一般执事范畴。他会去学习各种知识，掌握大量非本职所需的技能。
现在对比雨果，作为怪盗，他的搭档薇薇安是典型的“万能助手”——她必须面面俱到，设计逃生路线，配合雨果天马行空的想法。
由此可以推测莱卡恩与雨果曾经的搭档状态，雨果是台前表演者，莱卡恩则是幕后后勤保障者。他也曾是雨果的“万能助手”。那份超长的说明书，很可能就源于此——雨果提出疯狂构想，莱卡恩则用他谨慎的行事逻辑去细化、完善计划。这迫使莱卡恩必须事无巨细地学习、掌握各种知识（应付雨果比权贵难得多）。
早期秘闻显示，雨果曾教莱卡恩演戏，但莱卡恩当时对周密计划并不热衷，更倾向使用武力。
莱卡恩的行为模式、思维逻辑乃至自我认知，都深深被雨果所影响：
Facing his inner demon’s imitation of Lycaon’s tone—accusing him of being “infected” and “faking generosity”—Hugo’s first reaction was not “Don’t compare him to me” (which would imply “he’s not worthy to be compared with me”), but “Don’t compare me to him.”
These two statements may seem similar, but their meanings are completely opposite: the former is a condescending dismissal, while the latter is a self-effacing humility. In context, Hugo does not see himself as Lycaon’s equal, nor is he denying Lycaon’s worth. His true plea is: We should never have been measured by the same scale—he just needs to figure some things out. At least in this moment, his words convey not disdain, but profound recognition of Lycaon.
This recognition is crucial to Hugo’s behavioral discipline. Lycaon’s stern critiques—pointing out his missteps—act like a precise mirror, helping Hugo correct his deviations and prevent his own sharp edges from wounding himself or others.
Hugo’s thinking often gets caught in intense subjective vortices, and Lycaon’s presence provides him with an objective calibration point. The latter can correct his course at critical moments, helping him maintain a rare internal steadiness.
That is why we can understand the heavy meaning behind Hugo’s final reconciliation with his inner demon: “He tried his best, but he couldn’t manage it, so he accepted them.”
He truly exerted immense effort to suppress those “ugly” thoughts—and the motivation for this effort, as well as the turning point where he chose “acceptance” over total eradication, are inseparable from Lycaon’s presence.
Lycaon has a strong fixation on maintaining the image of a “perfect butler,” yet observing his actual skills reveals they far exceed the scope of a typical butler. He actively studies various fields and masters numerous skills beyond his official duties.
Now compare this to Hugo: as a phantom thief, his partner Vivian is the classic “all-round assistant”—she must handle everything, design escape routes, and keep up with Hugo’s whimsical ideas.
Hugo, in turn, teaches her acting and device-making.
From this, we can infer the former dynamic between Lycaon and Hugo: Hugo was the performer on stage, while Lycaon was the logistical support behind the scenes. He too was once Hugo’s “all-round assistant.” That excessively long instruction manual likely originated from this—Hugo proposed wild ideas, and Lycaon used his cautious, methodical logic to detail and perfect the plans. This forced Lycaon to learn and master all kinds of knowledge, down to the smallest detail (dealing with Hugo was far more challenging than dealing with the wealthy and powerful).
Early秘闻 show that Hugo once taught Lycaon acting, but Lycaon was not initially enthusiastic about meticulous planning, preferring to rely on force.
This difference reflects how the two磨合 over time while working together.
Lycaon’s behavioral patterns, thought processes, and even self-perception have been deeply influenced by Hugo:
Restraining his wild nature, reducing reliance on violence. Emphasizing strategy, composure, and elegance.
These principles have been internalized as part of his very being.
有人试图改变莱卡恩偏好武力的倾向（但效果显然有限）。
因此，谈论莱卡恩的现状，绝对绕不开雨果；探讨他为何成为现在这样，更无法回避雨果的影响。
深入分析会揭示一个关键：莱卡恩的“自我”与雨果深度相关，反之雨果亦然。 决裂夜的悲剧
解读那个雨夜，若带着“复仇者”或“信念背叛者”的偏见，结论将天差地别。但真相，需剥离主观臆断。
客观事实是：雨果是在其生理意义上的父亲发动大屠杀 之后才动的手。彼时他的心理状态，充斥着对未能更早阻止惨剧的 巨大悔恨 。
动机： 哈特曼暴露的惊愕（“你竟还活着？”）与雨果的悔恨心态，指向其核心动机是阻止更大的恶。
行为模式： 雨果并未进行任何泄愤性杀戮（那必然导致多处致命伤以确保死亡及发泄仇恨）。他很可能仅刺中腹部（推测），一击即止——这绝非确保致命的手法。
决定性细节： 他甚至没有确认对方是否死亡——这是典型的、因恐惧与后怕而产生的本能反应。
综上，雨果并非为复仇或私怨挥刀。他那充满愤怒却非预谋的一击，其本质是制止性攻击 ——即使明知代价惨重，他依然选择挥刀，只为阻止其父犯下更滔天的罪恶。
而最初的犹豫，令他背负了沉重代价——那是对未能拯救逝者的无尽悔恨与痛苦。
正是这份深植于灵魂的善良底色，使其每一次挥刀都如握双刃：伤敌愈深，自戕愈重。
如此漏洞百出的“杀人”现场，竟还有人买账？恐怕也只有莱卡恩敢信了——甚至判个“杀人未遂”，都算是对雨果·维拉德先生“觉悟”的 过度尊重。就凭这点能耐还想当凶手？维拉德先生，您这辈子都杀不了人啊！给我滚回去好好反省吧！光会放狠话却下不去死手，您这简直是在玩全年龄安全模式的过家家。
当然，若按“任何情况皆不可动手”的绝对硬性标准，那他确实“动手”了——这一点，确凿无疑。
恰如其名“维拉德”（Villad，暗示“恶徒”），但他空有魔鬼的行径之名 ，却无半分魔鬼的狠戾之实 。他恨意滔天，却为他人之死愧疚难当；咬牙切齿，又狠不下心肠。这般矛盾，见了都得尊称一声“圣父”，倒也不愧背个民族英雄的姓氏。
核心问题在于：当一个极度危险的犯罪分子，正极可能威胁他人性命时，你会选择阻止吗？
必须厘清： 暴力，是达成目的的一种手段，绝非目的本身。 为阻止暴行而与罪犯搏斗，过程中对其造成的伤害难以完全避免。真正的争议在于“度”的把握——并非人人都能精准拿捏满分，苛求完美实无必要。
雨果在那刻的选择是：挥刀，不为私仇，他试图以刀锋拯救他人，遏制事态滑向深渊。
何其讽刺。他未被仇恨吞噬，却被自己所秉持的正义彻底背叛 。
关键在于理解雨果彼时的状态：那是一个自我存在被彻底否决后的精神废墟。他已全面崩溃，完全倒向自我毁灭的深渊。试想；彻底否定自我是何等酷刑？再加上违背誓言的千斤重负、眼前大屠杀的血腥炼狱、手刃生父（无论其本质如何）带来的终极否定、以及理想国轰然倒塌的绝望……层层叠加之下，他早已被碾碎。
那时的雨果，不是一个求生者，而是一具行走的求死躯壳 ——自我毁灭的进程，在他挥刀那一刻便已启动并完成。
雨果在“杀死”其生理意义上的父亲后，已深陷彻底的自我否定深渊。无论是配音演绎还是文本呈现，他都散发出一种 全面自我放弃 的气息。尽管他尚能询问莱卡恩“要去哪里”，其内在世界却早已崩塌。
此处暂不探讨莱卡恩此刻的接纳与安慰能否真正挽救他。
关键在于：换作莱卡恩，他会如何抉择？莱卡恩真的会为求自保，眼睁睁看着眼前之人即将酿成更大的灾祸，然后无动于衷地放任其伤害更多生命吗？
回顾1.6结尾：莱卡恩那一瞬确实相信雨果已“堕落为恶龙”。老杰克的话言犹在耳，驱使他挺身阻止——然而，即使抛开这个契机，莱卡恩又岂能对眼前恶行 袖手旁观 ？
正因莱卡恩必定会做出同样选择 （阻止恶行），他随后的“背叛”，才对雨果造成了毁灭性的加码伤害。
明知挥刀的代价，为何连自己心都背叛自己，会如此痛苦呢？
更残酷的是：本欲求死的他，却未能迎来应得的终结——因为 该死的本应是他 。
正如他终其一生为莱卡恩失去的腿与眼而自责——那具残破的躯体本该属于他，属于这个未能拯救众人、理应承受惩罚的自己。
从妹妹事件到莱卡恩事件，清晰折射出雨果性格中根深蒂固的偏执与极端：他惯于将不属于自己的罪责全数揽下 ，只因“未能拯救”。他渴望被惩罚，近乎病态地仇恨着那个“无能”且“做不到”的自我 。
因此，在妹妹事件中，“该受罚而未受罚”反而获得“奖励”的经历，对他造成了巨大伤害。
那个他深信能理解自己、 必定会做出相同举动的同伴，为何如此轻易地背弃他、与他为敌？
在雨果扭曲却自洽的价值观里，“能被惩罚”甚至“能被处死”，恰恰证明了他存在的价值与意义——做错事就该受罚，杀人者理应偿命。这种逻辑暗含着一种冷酷的依存关系：恶的存在，是论证善的必要反题。
而莱卡恩的“背叛”，等于彻底剥夺了他作为“可被审判对象”的资格。这无异于对其存在根基的毁灭性打击——是一种比死亡更恐怖的社会性抹杀。他被放逐于自己信奉的道德秩序之外，成了无处归置的幽灵。
可悲的是，情感上，雨果又如同沙漠渴水般，绝望地需要着这份从未被确认的信任与理解。
雨果利用他行恶，“雨果是特殊的”之梦彻底破碎——雨果未能摆脱家族影响。 雨果的言行复刻了曾反对的老杰克逻辑（杀少救多），雨果为私欲践踏生命，背弃了“不杀”原则、对同伴信任，恶果形态已然显现。
他无力面对眼前的结果，血淋淋的现实远超莱卡恩的承受力与能力范围。他必须执行老杰克的嘱托，却毫无准备。
他无法接受雨果的堕落，更无法原谅促成此事的自己（纵是误会）；无法忍受毫无觉察的自己，更绝望于成为堕落的推手；昔日共擎理想的挚友，此刻已成不公的铸造者。（若他当时选择杀死雨果——雨果绝不会反抗）
至于莱卡恩后续的救人行为，是否包含“这是雨果造下的孽”的因素？这需要结合他对反舌鸟的总体态度分析（详见莱卡恩秘闻）。
Someone tried to change Lycaon's inclination toward using force (though the effect was clearly limited).
How could those years spent together in the Mockingbirds not have left their mark?
Therefore, discussing Lycaon's current state absolutely cannot bypass Hugo; exploring why he became who he is today is even more impossible without addressing Hugo's influence.
A deeper analysis reveals a key point: Lycaon's "self" is profoundly intertwined with Hugo's, and the reverse is true for Hugo as well.
The Tragedy of the Night of the Rift
Of course, we must ultimately confront the night of the rift.
Interpreting that rainy night with prejudices like "avenger" or "betrayer of beliefs" would lead to vastly different conclusions. But the truth requires stripping away subjective assumptions.
The objective facts are: Hugo acted after his biological father initiated a massacre. His mental state at that moment was filled with immense remorse for failing to stop the tragedy sooner.
A clear chain of key evidence exists:
Timing: The act occurred after the massacre, not as a premeditated revenge.
Motivation: Hartmann's stunned exposure ("You're still alive?") and Hugo's remorseful state point to his core motive: to prevent greater evil.
Behavior Pattern: Hugo did not perform any vengeful, excessive killing (which would inevitably result in multiple fatal wounds to ensure death and vent hatred). He likely struck only once, likely to the abdomen—this is by no means a method to ensure lethality.
Decisive Detail: He didn't even confirm if his target was dead—a classic instinctive reaction born of fear and dread.
In summary, Hugo did not wield the knife for revenge or personal grievance. That furious, yet unpremeditated strike was, in essence, a preventive attack—even knowing the terrible cost, he still chose to strike to prevent his father from committing more heinous crimes. The initial hesitation made him pay a heavy price: endless remorse and agony for failing to save those already lost.
It is this fundamental goodness deeply rooted in his soul that makes every swing of his blade a double-edged sword: the deeper it wounds the enemy, the more it cuts into himself.
How could anyone buy such a full of holes "murder" scene? Perhaps only Lycaon would dare believe it—even sentencing him for "attempted murder" would be an excessive respect for Mr. Hugo Villad's "resolve." With skills like this, you still want to be a killer? Mr. Villad, you'll never manage to kill anyone in this lifetime! Get back and reflect on yourself properly! All talk but incapable of delivering a fatal blow—you're practically playing a safe, all-ages version of house.
Of course, by the absolute rigid standard of "no violence under any circumstances," he did indeed "act"—that point is indisputable.
Fitting his name "Villad" (hinting at "villain"), he bears the name of a devil's deeds but possesses not an ounce of a devil's ruthless substance. His hatred is immense, yet he is consumed by guilt over others' deaths; he gnashes his teeth but lacks the heart for true cruelty. With such contradictions, one might as well respectfully call him a "saint"—not unworthy of bearing a surname fit for a national hero.
The core question is: When an extremely dangerous criminal is highly likely threatening others' lives, would you choose to stop them?
We must clarify: Violence is a means to an end, never the end itself. Struggling with a criminal to prevent their violence inevitably risks causing them harm. The real debate lies in the "degree"—not everyone can achieve a perfect score, and demanding perfection is unnecessary.
Hugo's choice at that moment was: to wield the blade, not for personal revenge, but to try and save others with its edge, to halt the slide into the abyss.
How ironic. He was not consumed by hatred but was utterly betrayed by the justice he himself upheld.
The key is understanding Hugo's state then: it was the spiritual ruin of someone whose self-existence had been completely negated. He had already collapsed entirely, plunging into the abyss of self-destruction. Imagine: what torture is it to completely negate oneself? Add to that the crushing weight of breaking his oath, the bloody hell of the massacre before his eyes, the ultimate negation from killing his own father (regardless of his nature), and the despair of his ideal world crumbling… Under these layers, he was already crushed.
At that moment, Hugo was not a survivor but a walking shell seeking death—the process of self-destruction had already initiated and completed the moment he swung the blade.
After "killing" his biological father, Hugo was already deep in the abyss of complete self-negation. Both the voice acting and the text portray him exuding an aura of total self-abandonment. Though he could still ask Lycaon "where to go," his inner world had already collapsed.
For now, let's not discuss whether Lycaon's acceptance and comfort at this moment could truly save him.
The key is: What would Lycaon have chosen? Would Lycaon really, for the sake of self-preservation, watch idly as the person before him was about to cause greater disaster, and then indifferently allow more lives to be harmed?
Recall the end of Chapter 1.6: Lycaon did, in that moment, believe Hugo had "fallen and become the dragon." Old Jack's words echoed in his ears, driving him to intervene—but even without that trigger, could Lycaon have stood by in the face of such evil unfolding before him?
It is precisely because Lycaon would have undoubtedly made the same choice (to stop the evil) that his subsequent "betrayal" inflicted such devastating, additional damage on Hugo.
The creed Hugo had long upheld was shattered mercilessly at that moment:
He did what was right and necessary, so why did justice betray him?
Why didn't he receive the promised outcome, even though he kept his oath?
He wanted to save more people, so why did this desire for salvation also betray him?
He knew the cost of wielding the blade, so why did even his own heart betray him, causing such pain?
Even more cruel: Intending to die, he did not receive the deserved end—because the one who should have died was him.
Just as he blamed himself for Lycaon's lost leg and eye for the rest of his life—that broken body should have been his, belonging to this self who failed to save others and deserved punishment.
From the incident with his sister to the incident with Lycaon, a clear reflection emerges of the deep-seated偏执 and extremity in Hugo's character: he habitually takes upon himself all blame that is not his, simply because he "failed to save." He yearns to be punished, harboring a near-pathological hatred for that "incompetent" and "incapable" self.
Therefore, in his sister's incident, the experience of being "rewarded" instead of "punished as he should have been" caused him immense harm.
Why did that companion, whom he deeply believed would understand him and would undoubtedly make the same move, so easily abandon him and become his enemy?
In Hugo's twisted yet self-consistent value system, being "punishable" or even "executable" proves the value and meaning of his existence—doing wrong deserves punishment, a killer should pay with their life. This logic implies a cold dependency: the existence of evil is the necessary antithesis arguing for good.
Lycaon's "betrayal" completely stripped him of his qualification as a "judgeable object." This was a devastating blow to the foundation of his existence—a social erasure more terrifying than death. He was exiled outside the moral order he believed in, becoming a ghost with nowhere to belong.
If "trust" never existed, how can there be "betrayal"?
Tragically, emotionally, Hugo desperately needed this never-confirmed trust and understanding like a desert craves water.
This night was also the realization of all Lycaon's fears:
Hugo used him to commit evil. The dream that "Hugo is special" shattered completely—Hugo failed to escape the family's influence. Hugo's words and actions replicated the logic of Old Jack (killing the few to save the many) that he once opposed. Hugo trampled on life for personal desire, betraying the "no-killing" principle and the trust of his companion. The form of the恶果 had already manifested.
He was powerless to face the result before him. The bloody reality far exceeded Lycaon's capacity to bear and handle. He had to execute Old Jack's wish but was utterly unprepared.
He could not accept Hugo's fall, nor could he forgive himself (even if based on a misunderstanding) for contributing to it. He could not bear being the oblivious self, and despaired at becoming a catalyst for the堕落. His former friend, with whom he once shared ideals, had now become a creator of injustice. (If he had chosen to kill Hugo then—Hugo would not have resisted.)
As for whether Lycaon's subsequent life-saving actions contained an element of "this is the sin Hugo created," this requires analysis combined with his overall attitude toward the Mockingbirds (see Lycaon's秘闻 for details).
Claude says he has experience with this sort of thing.
莱卡恩在秘闻中明确否定反舌鸟的过去，视其为“歧路”甚至“犯罪组织”，认为其作为整体对社会有害无益。
这种否定包含了他自己（“他们”/“我们”走偏），将反舌鸟的失败（尤指决裂夜事件）视为“歧路”的核心体现。
因此，他不仅否定组织，也否定了自己在其中的角色。
In his秘闻, Lycaon explicitly rejects the Mockingbirds' past, viewing it as a "path of error" or even a "criminal organization," believing that as a whole it was harmful rather than beneficial to society.
This rejection includes himself ("they"/"we" strayed), considering the failure of the Mockingbirds—especially the events of the night of the rift—as the core manifestation of this "path of error."
Thus, he not only rejects the organization but also denies his own role within it.
1.6-1.7文本中提及的“走偏”、“错路”、“歧路”与秘闻中的否定态度相呼应。然而，秘闻的表述与1.6-1.7剧情发生在不同时间点，这可以说明莱卡恩对反舌鸟的评价可能在1.6之前或期间就已发生转变。
莱卡恩所说的“我们”，而不是你，清晰地将他自身也包含在反舌鸟的歧路之中。那么，反舌鸟的歧路究竟是什么？其核心体现必然是“我们”的失败——即决裂之夜发生的事件。
因此，作为“我们”的一部分，莱卡恩将决裂夜所犯下的错误也视作自己的错误。这错误不仅在于他未能阻止雨果的堕落（未能履行牵引之责），更在于他客观上成为了雨果行恶的共犯者。
正因如此，他后续行为中必然包含着尽力补救的因素。更进一步说，他接受“必要时动手”的决定，形同将雨果的罪责全盘认领——这体现了他的一种认知：唯有承担起责任，才具备纠正所犯错误的权力。
然而，即使剥离这份沉重的共犯感与赎罪动机，莱卡恩的本性难道就会放弃救人吗？绝非如此。 早在1.7剧情中，当他与雨果共同营救工人时，雨果便一针见血地指出：“莱卡恩是真的喜欢这个事。”
他站在了老杰克临终嘱托的十字路口：向左，是执行冰冷的命令——杀死雨果；向右，则是松开绞索——保护雨果，试图拉住他不坠入深渊。
刀锋悬停的刹那，无关正义——那是野兽对同类最本能的“收爪”。
他眼中雨果已然作恶，必将踏上更深的歧途。他本应缉拿、制裁，哪怕只是挥拳施加惩戒——
他放走了“罪人”，放走了“祸患”，亲手为规则撕开裂口。
雨果完全明了老杰克那“杀死错误”的残酷嘱托，也无比清晰地看到了莱卡恩的选择。
正因如此，他才能如此笃定地对心魔说出“莱卡恩不会那么说”。他太了解莱卡恩了，了解那份在“杀”与“护”之间挣扎后选择的重量与逻辑。
他比任何人都清楚——莱卡恩为他放弃了什么，又独自吞咽下什么。他自尊心不准许自己这样，也不准许莱卡恩这样。
必须独行至血路尽头，必须将自己拽回悬崖——唯他能劈开的救赎之地。
莱卡恩素来尊重雨果的选择——唯独在如何对待雨果自身这条道路上，他悖离了雨果当时的意志。 他选择了“保护者”的立场，不惜站在雨果的对立面，以“否定其选择”为名，行“阻止其沉沦”之实。
也自然能理解在故事里面莱卡恩会说出那样的话：我相信让你感到痛苦的路，一定是错的。
The references to "straying," "wrong path," and "path of error" in Chapters 1.6-1.7 resonate with the dismissive attitude shown in the秘闻. However, since the秘闻's expression and the events of 1.6-1.7 occur at different points in time, it suggests that Lycaon’s evaluation of the Mockingbirds may have shifted before or during Chapter 1.6.
When Lycaon says "we" instead of "you," he clearly includes himself in the Mockingbirds' erroneous path. So, what exactly is this "path of error" for the Mockingbirds? Its core manifestation must be the failure of "us"—specifically, the events of the night of the rift.
Thus, as part of "us," Lycaon regards the mistakes made on that night as his own as well. This error lies not only in his failure to prevent Hugo’s fall (failing to fulfill his role as a guide) but also in his objective status as an accomplice to Hugo’s wrongdoing.
Because of this, his subsequent actions inevitably include elements of striving to make amends. Going further, his acceptance of the decision to "act when necessary" is tantamount to taking full responsibility for Hugo’s sins—reflecting his belief that only by assuming responsibility does one gain the right to correct the mistakes made.
At least regarding the events of that night, Lycaon firmly sees himself as an accomplice.
Yet, even setting aside this heavy sense of complicity and motive for atonement, would Lycaon’s inherent nature ever lead him to abandon saving others? Absolutely not. As early as Chapter 1.7, when he and Hugo worked together to rescue the workers, Hugo pointedly observed: "Lycaon truly enjoys this kind of thing."
He stood at the crossroads of Old Jack’s final wish: to the left, carrying out the cold command—to kill Hugo; to the right, loosening the noose—protecting Hugo, trying to pull him back from the abyss.
The moment the blade hovered, it had nothing to do with justice—it was a beast’s most instinctive act of "retracting its claws" toward its own kind.
Driven by… an impulse even he could not put into words.
In his eyes, Hugo had already committed evil and was destined to descend further down this misguided path. He should have apprehended him, punished him, even if only with a fist to inflict discipline—
Yet he did nothing.
A resolute turn.
He let the "sinner" go, released the "calamity," and tore a hole in the rules with his own hands.
All so that a beast much like himself could live.
The word Lycaon misspoke back then was never corrected.
Would Hugo ever accept this kind of "loyalty" that meant "falling into the abyss together"?
Never.
Thus, Lycaon could only be a traitor.
Hugo fully understood the cruel weight of Old Jack’s instruction to "kill the mistake," and he saw Lycaon’s choice with painful clarity.
That is precisely why he could say so assuredly to his inner demon, "Lycaon wouldn’t say that." He knows Lycaon too well—understands the weight and logic behind the choice made after struggling between "killing" and "protecting."
Yet, understanding does not mean acceptance.
He knows better than anyone—what Lycaon gave up for him, and what Lycaon swallowed alone. His pride would not allow himself to be seen this way, nor would it allow Lycaon to be seen this way.
Therefore, Hugo must end it himself.
He must walk alone to the blood-stained end, must drag himself back to the cliff’s edge—to a place of salvation only he can carve open.
Lycaon has always respected Hugo’s choices—except on the path of how Hugo treats himself. There, he defied Hugo’s will at that time. He chose the stance of a "protector," even at the cost of standing against Hugo, using the guise of "rejecting his choice" to act on "preventing his downfall."
And so, it becomes natural to understand why Lycaon would say these words in the story:
"I believe the path that causes you pain must be wrong."
这也是莱卡恩人格里面最具有魅力一面（我自己封的），他本质上的叛逆，那温柔与礼仪皆是维多利亚式权柄的展演——如冬夜壁炉施舍暖意，收束时连余烬都扫净。您的悲欢？抱歉，那不在服务清单内。
所以在莱卡恩的怨怼中，自然也必然嵌着这一条：你这个混蛋！
命运倒也没亏待莱卡恩——他终究收获一群能互相搀扶着往前蹚的同伴。只是这群人里很难说有共同理想，至少圆鲨鲨的脑内议会，恐怕全票通过了睡觉法案。
圆鲨（需糖）、可琳（病弱）、丽娜（通灵般的味觉与笑脸虎，记仇）；若说莱卡恩真参与了选人……这标准…………
当然要说维多利亚家政都是看着吓人但内心善良才是特色的话，那基本每个阵型都是这个特色，但维多利亚家政都每一位都对应一部恐怖片，包括反舌鸟也是。】
可即便没有这出戏，莱卡恩迟早也会走，只是不会这种离开。
如果有幸抽中莱卡恩，当选择邀约他出来看电影的时候，会有三部电影可选，另外两部都是与他自己相关，只有这一部是他者。
This is also one of the most captivating facets of Lycaon’s personality—in my own view. At his core lies a rebellious spirit, while his gentleness and courtesy are but performances of Victorian authority—like a winter hearth granting warmth, only to sweep away every ember when it’s time to withdraw. Your sorrows and joys? I’m sorry, those aren’t on the service list.
So naturally, woven into Lycaon’s resentment is also this line: You bastard!
Fate hasn’t been entirely unfair to Lycaon—he ultimately gained a group of companions who can support each other as they forge ahead. Though it’s hard to say they share a common ideal—at the very least, Round Shark Shark’s internal parliament has probably unanimously passed the Sleep Bill.
What’s more subtle is that the members of Victoria Housekeeping each carry a hint of Hugo:
Round Shark (craves sugar), Corrin (frail health), Lina (a psychic-like palate and a smiling tiger who holds grudges). If Lycaon really had a hand in selecting them… these criteria…
Of course, if the defining trait of Victoria Housekeeping is that everyone looks intimidating but is kind-hearted inside, then basically every faction shares that trait. But each member of Victoria Housekeeping corresponds to a horror movie—including the Mockingbirds.]
Even without this whole ordeal, Lycaon would have left eventually—just not in this way.
To truly walk side by side? Simply chasing a shadow isn’t enough—
You have to stand before him, letting him see the signpost reflected in your eyes.
If you can’t even meet his gaze, how can you expect him to grasp the rope you throw?
Lycaon also needs to prove himself.
If you’re fortunate enough to draw Lycaon and choose to invite him to watch a movie, there are three films to choose from. The other two are related to himself—only this one is about another.
The title of this one happens to be: How to Protect You Without a Sword.
尽管他与莱卡恩互称“搭档”或“挚友”，但两人同被老杰克收养，在同一屋檐下长大，实质共享着家人的纽带与羁绊。然而，“家人”一词对雨果而言，除却妹妹薇薇安，几乎与冰冷的枷锁和灼痛的记忆绑定。因此，他本能地回避这个称谓，选择用其他词汇去包裹那份沉重的亲密。
这一点清晰可见：他与薇薇安彼此都视对方为家人，也坦然承认这份关系。但在1.7版本的诀别时刻，面对薇薇安，雨果偏偏不说“为他落泪的家人或妹妹”，而是说“为他落泪的搭档”。这绝非偶然——他大概率对这个词（家人）心怀抗拒，甚至恐惧。雨果对词语的认定法则独特而固执：“搭档”于他，绝非简单的身份标签，其分量远超字面，承载着他所能承受的、最深的信任与联结。
这也解释了反舌鸟的独特气质：它不像其他组织那般带有鲜明的帮派或集团印记，反而更接近于一个由毫无血缘者构筑的“家族”——一个主动选择的归巢。其内核与狡兔屋收留流浪儿童的温情模式更为贴近。
因此，他对卖片兄妹怀有的那份额外好感与深切羡慕（刨除薇薇安和莱卡恩的因素），根源便在于此：对方拥有他梦寐以求的、彼此扶持的真正家人。 反观自身那“鬼一样的家庭”（充满压迫与扭曲的血缘牢笼），这份羡慕便带着刺骨的疼痛与难以填补的空洞。
在雨果的个人EP中，与莱卡恩决裂后，画面骤然闪回他们初遇老杰克时居住的那栋房子——它正被熊熊烈火吞噬。
这焚毁的意象，何其残酷！它象征着“家”的概念在他世界里的彻底崩塌：归处已成焦土，等待化作虚无。 最后的容身之所化为灰烬，整个世界仿佛都在发出冰冷的拒绝与彻底的抛弃。
被家人（即使是在莱卡恩定义下的家人）视为“令人失望”而遭“抛弃”，对任何人而言，都是足以撕裂灵魂的绝望酷刑。
只是，比起那个在血缘至上的丛林法则中奉行“剩者为王”、甚至将扭曲行径当作勋章炫耀的父亲，莱卡恩因雨果犯错而选择离开，其逻辑显得近乎残酷的正常——做错事，理应承担后果。然而，在这决绝背影的深处，同样包裹着对“家人”（雨果）未曾言明的沉重期许与深刻肯定：他期待雨果能成为更好的人，这份期待本身，便是一种扭曲却真实的承认。
↑ For this, I can only borrow Hugo's assessment of Camilla.
Of course, it must be reiterated: this does not mean Hugo was not wounded.
Although he and Lycaon refer to each other as “partners” or “close friends,” they were both adopted by Old Jack, raised under the same roof, and share the substantive bonds and ties of family. However, for Hugo, the word “family”—aside from his sister Vivian—is almost always bound to cold shackles and searing memories. Thus, he instinctively avoids this term, choosing other words to wrap around that heavy intimacy.
This is clearly visible: Both he and Vivian see each other as family and openly acknowledge that relationship. Yet at the moment of farewell in Version 1.7, facing Vivian, Hugo deliberately does not say “family or sister who shed tears for him,” but instead says “partner who shed tears for him.” This is no coincidence—he most likely harbors resistance, even fear, toward this word (“family”). Hugo’s criteria for recognizing words are unique and stubborn: “Partner” to him is far from a simple label; its weight exceeds the literal meaning, carrying the deepest trust and connection he can bear.
This also explains the Mockingbirds’ unique character: It doesn’t carry the distinct gang or corporate imprint of other organizations. Instead, it feels closer to a “family” built by those without blood ties—a chosen home. Its core aligns more with the warmth of groups like the Cunning Hare Shelter, which takes in stray children.
Therefore, his extra fondness and deep envy toward the film-selling siblings (setting aside factors related to Vivian and Lycaon) stem from this: They possess the genuine, mutually supportive family he has always dreamed of. In contrast, his own “ghost-like family” (a cage of oppressive and twisted blood ties) makes this envy piercingly painful and hollow.
In Hugo’s personal EP, after the rift with Lycaon, the scene abruptly flashes back to the house where they first lived with Old Jack—now engulfed in roaring flames.
This imagery of burning is utterly cruel! It symbolizes the complete collapse of the concept of “home” in his world: the place of return reduced to scorched earth, awaiting nothingness. The last refuge turned to ash, as if the entire world is issuing a cold rejection and total abandonment.
Being seen as “disappointing” and “abandoned” by family (even family as defined by Lycaon) is a torturous, soul-rending despair for anyone.
Still, compared to that father who upheld “survival of the fittest” in a bloodline-centric jungle and even wore his twisted actions as medals, Lycaon’s choice to leave because Hugo made a mistake feels almost cruelly normal—doing wrong should have consequences. Yet, within the depths of that resolute departure also lies an unspoken, heavy expectation and profound affirmation toward Hugo as “family”: he expects Hugo to become a better person. This expectation itself is a twisted yet genuine form of acknowledgment.
自决裂之夜起，二人间所有物理与社会的纽带皆已斩断，加之多年音信断绝，将其定义为“宿敌”实为生硬的牵强附会。更冷酷的真相是：他们早已沦为彼此生命中的陌生人。
莱卡恩主动抛弃了老杰克赋予的“责任”及随之而来的“义务”，自然也就自愿放弃了与之对等的“权力”与“立场”——他本已彻底退场。
讽刺的是，恰恰是莱卡恩自己，硬要为这段已然消散的关系套上“宿敌”的外衣，并以此为由干涉反舌鸟事务。 这暴露了他内心的真实：他根本不愿与雨果彻底断绝关联。
他搜刮出“宿敌”这个词来自我粉饰，甚至未曾深思：那个沉寂多年的雨果，或许早已放下了执念。莱卡恩一边要求对方“放弃”，一边却坚信对方“不会放弃”，用“宿敌”强行概括一段早已不复存在的关系，只为将彼此牢牢绑定，而非真正切断。
但那么做的人，并不止莱卡恩一个人，即使连雨果都要称呼莱卡恩为“宿敌”，
若要让“宿敌”之名在分离期成立或者彻底成立，就必须将对方彻底内化为假想敌： 以击败对方为终极目标进行自我改造（如莱卡恩的力量倍增）；模拟对方的行为与思维以寻求压制之道。在这个过程中，对方的思维模式不可避免地渗透、侵蚀自身。
于是，肉体虽分离，心灵却因这扭曲的共生而越缠越紧，密不可分。 因此，当作为“蓝本”的一方发生剧变，另一方也必然随之震荡。你们都给“宿敌”这个词道个歉吧！—— 正如隔壁世界观的里面某两位星神所示：巡猎命途的根基在于丰饶，摧毁丰饶之源，便能令巡猎失去意义。
然而，在莱卡恩未被言明甚至未被察觉的认知最深处，他从未真正站在雨果的“对立面”；至于雨果在故事种种行动看来，显然并没有打内心认为对方是自己的敌人。
“宿敌”的戏剧外衣之下，是一根无法斩断的共生之脐，一场拒绝落幕的双人舞，以及一份深埋的、未完成的牵绊。
作为早早起角色莱卡恩信息的匮乏曾使解读困难，后续秘闻虽提供了窥视的“窗口”，却仍显朦胧。我们仅能确认：眼前的他并非原初形态，秘闻中碎片揭示了当下“完美执事”模样的雏形。而这一切转变的关键节点，无疑关联着与那位“吸血鬼朋友”一场充满裂痕的决裂。
那位“吸血鬼”的形象必然与莉莉可高度重合，否则怎会触发如此强烈的回忆回响？这暗示了莱卡恩潜意识中某种顽固的“类型”烙印。
但秘闻最终导向一句看似总结的陈词：“无论以前怎么样，莱卡恩现在都是可靠伙伴”。这句话甚至被镌刻在其角色评价中，与雨果卡池那句“从前种种，譬如昨日死；从后种种，譬如今日生”形成微妙的镜像呼应。
然而，世人皆知：若未曾直面、清算过往，仅将其粗暴掩埋，则所筑之未来不过虚幻的海市蜃楼。
雨果（故人）： 单独出现时，他是被柔和怀念的对象，莱卡恩的态度甚至显露出罕见的松弛。
反舌鸟（象征“过去”的化身）： 出现即招致全然的否定与排斥。
雨果与反舌鸟并存： 则触发其明显的不悦与避讳，乃至触及即燃的怒火。
这哪是“放下”的姿态？分明是“别碰我伤口”的应激！ 其回避程度与雨果那句“不清楚不知道”堪称势均力敌的鸵鸟行为。
秘闻展现了比主线更鲜活的莱卡恩， 他不仅承诺协助绳匠（意愿承认“不光彩”的过去片段，却对“吸血鬼”之名讳莫如深），更在事件中展现了超越常理的“上位者”式可靠感与掌控余裕。他的目标绝非简单的救助——而是对莉莉可整个人生轨迹与精神世界的强行矫正。
严重的角色僭越： 当本应承担沟通与责任的父母却彻底隐身，莱卡恩悍然越界，强行取代了父母的生态位。
搬出“虽已结束雇佣，但雇佣过也算雇主”的逻辑介入，其荒谬性堪比“因曾在奶茶店打工，便需对多年后顾客腹泻负责”。这时空错乱的借口，与其说是说服他人，不如说是莱卡恩试图自我麻醉的拙劣谎言。
而他干预时间：干预发生在服务期结束后，莉莉可即将与假反舌鸟沉沦的危急关头。
维多利亚家政主动挑选雇主的特质，在此刻反证了其介入的绝对自主性。
结论： 莉莉可事件是一次纯粹基于莱卡恩个人私心的干预，是其筛选规则下的绝对“特殊事件”。
雨果对莱卡恩的影响远超行为模式。雨果无意中将自己所有的情感体验——无论积极或消极——都展现在莱卡恩面前（莱卡恩对雨果亦然）。不同的是，莱卡恩将雨果的这些情感经历吸收并内化了。
l 理解这一点，就能看清莉莉可事件中莱卡恩的动机：
l 他能深切感受到莉莉可的痛苦——这与他自己是否孤儿、是否被排挤无关。
l 秘闻中那些关于家庭和父母的沉重话语，其源头并非莱卡恩自身经历，而是来自“他者”——雨果。雨果过去的痛苦烙印在莱卡恩心中。
l 当遇到与雨果昔日困境相似的场景（莉莉可事件）时，这些记忆被触发，引发了莱卡恩强烈的情感共鸣（移情）。
l 强烈的共情随之产生，驱使他采取了远超常规责任界限的干预行动。秘闻中那种霸道且越界的介入方式，正是这种强烈情感驱动的结果。
莉莉可就像是雨果的一个相对幸运的镜像：她拥有雨果所缺失的正常家庭结构，但也面临着类似的心理困境。只不过雨果的问题更加极端和危险。
我们理解和应对世界的方式，往往源于最亲密关系对象的模板。对多数人而言，这模板是父母；对莱卡恩（和雨果）来说，这模板就是老杰克，以及最重要的——彼此。雨果的存在，深刻内化于莱卡恩的认知和情感反应中，塑造了他看待和回应他人（如莉莉可）的方式。
Twisted Symbiosis During the Separation
From the night of the rift onward, all physical and social ties between the two were severed. Coupled with years of complete silence, defining them as "sworn enemies" feels like a forced and artificial stretch. The colder truth is: they had long since become strangers in each other's lives.
Lycaon actively abandoned the "responsibility" and its accompanying "obligations" given by Old Jack, thus voluntarily relinquishing the corresponding "authority" and "position"—he should have exited the stage completely.
Ironically, it was Lycaon himself who insisted on draping this already dissolved relationship in the cloak of "sworn enemies," using it as grounds to interfere in Mockingbird affairs. This exposed the truth within him: he simply did not want to sever ties with Hugo completely.
He scavenged the term "sworn enemies" to whitewash his own actions, without even considering that Hugo, silent for years, might have already let go of his obsessions. Lycaon demanded that the other "give up" while firmly believing they "wouldn't give up," forcibly summarizing a relationship that no longer existed as "sworn enemies"—all to bind them together tightly, not to truly cut the connection.
But the one doing this wasn't Lycaon alone; even Hugo referred to Lycaon as a "sworn enemy." Both committed the exact same act.
For the label "sworn enemies" to hold—or to be fully established—during the separation, one must completely internalize the other as an imagined adversary: reshaping oneself with defeating the other as the ultimate goal (like Lycaon's倍增 strength); simulating the other's behavior and thinking to find ways to suppress them. In this process, the other's thought patterns inevitably seep in and erode one's own.
Thus, though physically apart, their minds became inextricably entangled tighter through this twisted symbiosis. Therefore, when the "blueprint" undergoes a drastic change, the other is inevitably shaken as well. You both owe the term "sworn enemies" an apology!—Just as two Aeons in another worldview demonstrate: the foundation of the Hunt path lies in Abundance; destroying the source of Abundance renders the Hunt meaningless.
However, in the deepest, unspoken, perhaps even unconscious layer of Lycaon's cognition, he has never truly stood on Hugo's "opposite side." As for Hugo, judging by his various actions in the story, he clearly does not genuinely see the other as his enemy either.
Beneath the dramatic costume of "sworn enemies" lies an unseverable symbiotic umbilical cord, a duet refusing to end, and a buried, unfinished bond.
The early lack of information about Lycaon made interpretation difficult. Though later秘闻 provided a "window" for insight, it remains hazy. We can only confirm: the Lycaon before us is not his original form. The fragments in the秘闻 reveal the雏形 of his current "perfect butler" persona. And the key turning point in this transformation is undoubtedly linked to a裂痕-filled rift with that "vampire friend."
The image of that "vampire" must overlap highly with Lilique; otherwise, why would it trigger such strong echoes of memory? This hints at a stubborn "type" imprinted in Lycaon's subconscious.
But the秘闻 ultimately leads to a seemingly conclusive statement: "No matter how he was before, Lycaon is now a reliable partner." This sentence is even engraved in his character evaluation, forming a subtle mirror with the line from Hugo's banner: "Let bygones be bygones; what comes after is born anew."
However, everyone knows: if one never truly confronts and settles the past, merely burying it roughly, then the future built upon it is but an illusory mirage.
Lycaon's attitude toward the "past" exposes the fragility of his declaration:
Hugo (old friend): When mentioned alone, he is an object of柔和怀念; Lycaon's attitude even shows rare松弛.
Mockingbirds (embodying the "past"): Their mere mention invites complete negation and rejection.
Hugo and Mockingbirds together: This triggers evident displeasure, avoidance, and even触即燃的怒火.
Is this the posture of "letting go"? It's clearly the应激反应 of "don't touch my wound"! The degree of avoidance rivals Hugo's "I don't know, I'm not sure" in a perfect match of鸵鸟 behavior.
The秘闻 shows a more vivid Lycaon than the main story. He not only promises to assist the Ropemaker (willing to acknowledge "unflattering" fragments of the past, yet avoids the name "vampire" like a taboo) but also displays a超越常理的 "upper-hand" sense of reliability and掌控余裕 during events. His goal is far from simple rescue—it is the强行矫正 of Lilique's entire life trajectory and inner world.
A severe case of role transgression: When the parents, who should bear the responsibility of communication, are utterly absent, Lycaonbrazenly overstepping boundaries and forcibly usurping the ecological niche of parents.
This behavior cannot be explained by loyalty, justice, or compassion alone.
His timing of intervention: It occurred when he was supposed to be serving Lilique, but instead went to catch the art thief, precisely at the critical moment when Lilique was about to sink with the fake Mockingbird.
Victoria Housekeeping's trait of actively selecting employers, in this moment,反证了 the absolute autonomy of his intervention.
Conclusion: The Lilique incident is a pure intervention based on Lycaon's personal motives, an absolute "special case" under his筛选规则.
He is not this "transgressively热心" toward everyone.
Hugo's influence on Lycaon goes far beyond behavioral patterns. Hugo unintentionally displayed all his emotional experiences—positive or negative—before Lycaon (and vice versa). The difference is, Lycaon absorbed and internalized these emotional experiences of Hugo's.
Understanding this clarifies Lycaon's motivation in the Lilique incident:
He could深切感受到 Lilique's pain—this has nothing to do with whether he himself is an orphan or was ever excluded.
Those heavy words about family and parents in the秘闻 did not originate from Lycaon's own experiences but from the "other"—Hugo. The烙印 of Hugo's past pain is imprinted on Lycaon's heart.
When encountering a scenario similar to Hugo's past困境 (the Lilique incident), these memories were triggered, causing Lycaon's强烈的 emotional共鸣 (empathy/移情).
Intense共情 then drove him to take interventionist actions that far exceeded常规责任界限. The霸道且越界的介入方式 in the秘闻 is precisely the result of this强烈情感驱动.
Lilique is like a relatively fortunate mirror of Hugo: she possesses the normal family structure Hugo lacked but faces similar psychological困境. Only Hugo's issues are more extreme and dangerous.
The way we understand and respond to the world often stems from templates formed by our closest relationships. For most, this template is parents; for Lycaon (and Hugo), this template is Old Jack, and most importantly—each other. Hugo's existence is profoundly internalized in Lycaon's cognition and emotional responses, shaping how he views and reacts to others (like Lilique).
这画名字实在全是梗，我一定要放。神明之果是什么果~是禁（雨）果~
作为科技苦手却能高强度追踪反舌鸟（雨果）动向，暴露了无法割舍的联系。重逢时，他对雨果实施超乎常理的“长臂管辖”与强烈控制欲（强制要求遵守其标准、因“可能越界”而罔顾事实发怒），绝非对待敌对者或普通故人的态度，更像是一种管理者、上位者甚至所有权者的姿态（“你管我的事？”雨果的质问异常合理）。
而雨果也一样在1.4-1.5版本主线中，雨果就已经在活动剧情中出现，每一次都精准在莱卡恩出现之前离开，这种过于精准做法，如果没有对于对方的行踪的监视，显然很难做到，并且事情发生了说三次。
纵使与莱卡恩决裂，雨果也绝无可能坐视对方受伤或殒命。正如他将塞蕾娜之死归咎于己，当联想到自己当时的缺席可能导致莱卡恩遇险——因未能及时伸出援手、拯救对方而生的自责。
如果考虑到莱卡恩说的不是安慰的话而是真话，那大概率是真出意外了，以受害者本人感受为准。
这份执念，更扭曲地体现为他对莱卡恩扭曲的保护欲：其对维多利亚家政动向及莱卡恩行踪的了如指掌，堪比专业监视。
This painting's name is absolutely full of references—I simply have to mention it. What is the "Fruit of the Gods"? It's the forbidden fruit—the Rain (Hugo) fruit~
A tech-challenged person who nonetheless intensely tracks the Mockingbird's (Hugo's) movements exposes an inseverable connection. Upon reunion, his超乎常理的 "long-arm jurisdiction" and strong desire for control over Hugo (forcing compliance with his standards, getting angry over "possible boundary-crossing" while ignoring facts) are not attitudes one holds toward an enemy or an ordinary old acquaintance. It更像是 the stance of a manager, a superior, or even an owner ("Since when do you manage my affairs?" Hugo's质问 is entirely reasonable).
He only completely loses control in front of Hugo.
And Hugo is the same. In the main story of Versions 1.4-1.5, Hugo already appeared in event剧情, leaving each time with precise timing right before Lycaon's arrival. Such精准做法 would be hard to achieve without monitoring the other's movements—and it happened not just once, but three times.
Even after the rift with Lycaon, Hugo would never stand by and watch him get hurt or die. Just as he blamed himself for Serena's death, the thought that his absence at that time might have led Lycaon into danger—the self-reproach for failing to reach out in time and save him—would torment him.
If we consider that what Lycaon said wasn't just comfort but the truth, then an accident most likely did happen—with the victim's own feelings being the standard.
This obsession manifests even more扭曲ly in Hugo's twisted protective urge toward Lycaon: his detailed knowledge of Victoria Housekeeping's movements and Lycaon's whereabouts rivals professional surveillance.
And as is well known, excessive protection is often just a fine line away from surveillance…
（Since the image couldn't fit, it's been split into two parts.）
