"And done. With this, both paintings are ready. Time to begin the experiment."
It's been almost six months since Leonardo found out he was in the Marvel universe. After the discovery, he went into shock for a few days but recovered quickly. After all, if he couldn't change it, the best he could do was adapt. Still, there were things he needed to investigate—first and foremost, which universe he was in.
After researching major events and the global context, he's almost certain he's in Universe 199999—the MCU. After that, he looked into the presence of mutants. In his past life, Leonardo read tons of Marvel fanfics, and one of the most common tropes was the fusion of all Marvel cinematic universes into one: the MCU, Fox's X-Men films, and the Fantastic Four. But this world doesn't seem to be one of those. The only anomaly he found compared to the MCU was Gwen's presence—but that, he's sure, was the system's doing.
Alright, it seems there are no major changes.
And that's for the best… right?
Well, no.
After all, he's here. If he keeps painting—and of course he will—he'll eventually end up changing events.
People aren't stupid. If they realize something bad is coming, they'll try to stop it.
Still, that isn't necessarily a bad thing. If the future changes, more lives might be saved: the Battle of New York, Sokovia, Hydra, the Blip… If people know ahead of time, they can prevent countless tragedies.
But there are a few things he has to keep in mind.
First: the TVA.
They appeared in the Loki series and are responsible for pruning anything that causes timeline branches (i.e., any changes to the future). Unfortunately for Leonardo, that's exactly what he's doing.
And yet… they haven't come for him.
He has no idea why—but so far, they haven't appeared, and that's something.
Second: the impact of his changes.
Leonardo doesn't want to cause a global catastrophe by accident. He knows all too well how the butterfly effect works. So, his plan is simple: he'll paint exact scenes—moments he needs people to see, to either change them or make them happen sooner. That way, he can subtly "nudge" others toward a better outcome.
Of course, this is all just a theory.
To test it, Leonardo spent the last few months painting two pieces, and now that they're finished, he's going to display them together.
One painting shows Tony Stark discovering the new element that will help him with the palladium poisoning caused by prolonged use of his current arc reactor.
The other depicts the Stark Expo, specifically the moment when Hammer's drones go haywire.
These two events aren't majorly important.
Even without interference, SHIELD would eventually help Tony discover the new element. And at the Stark Expo, while people were injured, Tony managed to save everyone.
Still, if these moments do change, it could lead to minor but meaningful improvements.
If Tony discovers the cure earlier, he'll improve his armor faster.
If the Expo is evacuated in time, there won't be any casualties.
---
~ Stark Mansion ~
'Sir, painter Leonardo Valentino just released two new pieces. Both seem to be related to you.'
Tony, who was enjoying a short break and sipping some chlorophyll, immediately turned his attention to Jarvis.
"They're about me? Show me."
'Displaying artwork.'
Tony glanced at the projections and couldn't help but laugh. Saying the pieces were "related to him" was putting it mildly. One was literally the tech expo he hosted—it was obvious from the building, the tech in the background, and even the banners. The second piece was even bolder. It showed him, staring at a projection of what looked like… an element?
"Hah, not even trying to be subtle anymore, huh? Wait… what is that?"
Tony, who had been laughing at the artist's audacity, suddenly went serious as he noticed something odd.
"Jarvis, correct me if I'm wrong, but that doesn't look like any known element, does it?"
'Correct, sir. That is not a discovered element. However, the image matches a video from your archives.'
"My archives? You're saying I've got a brand-new element just lying around in the garage and didn't know it?"
'Sir, it appears to be part of a recording left by your father.'
"I see. So, my dad left me a video with an undiscovered element. Either he was really bored… or this is something I need."
"Jarvis, find that original projection and bring it up. Fast. I think this might be the solution to my little problem."
As he watched and analyzed his father's recording, a smile crept across Tony's face.
"Yes! This is it. This element can replace the core of the arc reactor. I can stop worrying about dying and start focusing on building better suits."
'Sir, I don't mean to spoil your enthusiasm, but this feels… too convenient.'
Jarvis reminded him, prompting a frown from Tony.
"I know. A painting that just happens to solve my current crisis is too much of a coincidence.
But… why? Why would someone want to keep a superhero alive?
Is he just a good person? Or is there something else going on?"
---
~ SHIELD Helicarrier ~
Fury tapped his finger against the desk, deep in thought. He was listening to a report—and not a comforting one.
"Sir, all experts agree: the painter's knowledge of the future is confirmed. We also have a basic psychological profile. He seems to be a neutral-to-good individual. Wants to help, but prefers not to get directly involved."
"However," the agent continued, "some of our scientists have raised a disturbing theory.
Using data from the suit Tony Stark provided to the military, intel from Agent Romanoff—currently undercover as his assistant—and the paintings, they've come to a conclusion."
"Tony Stark is dying. More precisely, he's being poisoned by the palladium used in his arc reactor. There are only two solutions: stop using the reactor—which is impossible, as it's keeping him alive—or find a replacement element, which is an extremely difficult task… at least, it was, before the painting."
Fury already knew all of this. The poisoning was in SHIELD's records.
They had the solution—left by Howard Stark—and he was planning to use it to gain Tony's trust, hoping to recruit him into the Avengers Initiative.
But that plan… was no longer an option.
The artist beat him to it.
He gave Tony the answer. And not just that—he also painted a second scene.
Fury's brow furrowed.
"The second painting, right?" he cut in.
"Exactly. The Stark Expo. Based on the timeline, Stark should be dead by then. And yet, the artist depicted him alive and well.
Even without seeing the painting, you'd know: he wants Stark to survive. Wants him to be ready."
Fury leaned back, arms crossed.
"So, the artist either wants to change the future…
Or he needs Tony to be stronger."
Both possibilities were troubling.
Because if someone good—someone who sees the full picture—feels the need to intervene…
Then something terrible is coming.
And if that someone is making sure Earth's heroes are stronger?
Then the threat ahead… might be worse than anything they've faced before.