In this section, Collins plays with two classic fantasy tropes: “gathering the tools” and “gathering the team.” The scene in which Gregor prepares for the quest, assembling essential supplies like flashlights, displays his intelligence and readiness, aligning with the “gathering the tools” trope: “There were lots of good flashlights, probably because anyone who had been in the tunnels below New York City would have needed one. Gregor selected four and dug out a lot of batteries. A couple of life jackets caught his eye, and he took these, too” (109). Similarly, the trope of assembling a team comes into play as many others join Gregor to embark on the quest. He finds companions like Mareth, the bats, and Twitchtip on the boat, whom he expected and likes as useful allies. However, Collins subverts this trope to some extent by including characters Gregor doesn’t trust, like Howard, while leaving behind those he values most, like his friends Luxa and Ripred. This decision complicates the expectation of gathering allies based on trust or bonds. Howard later proves a worthy companion, but he’s selected to join the team only due to his sea skills, and Gregor dislikes him. By subverting the typical camaraderie of “gathering the team,” the novel shows that loyalty and likeability aren’t always as straightforward as the typical fantasy formulas suggest.

Foreshadowing effectively hints at big twists, embedding clues early. Gregor struggles to recall details about the kidnapping of the Lindbergh baby, dismissing it as just a “sad” event, which subtly mirrors his misunderstanding of the prophecy’s true meaning: “There was a sad thing, too, about a baby. But he couldn’t remember that exactly, either” (122). Just as he assumes that “the baby” refers to Boots, readers are led to the same false conclusion, making the final revelation in a later chapter—that “the baby” refers to Bane, a baby rat—even more impactful. Another instance of foreshadowing occurs when Gregor gets Ares to agree that if a life-or-death choice arises, Ares should prioritize Boots over Gregor: “‘Save Boots. I mean, save her before me. I know we’re bonds and all, but get her first,’ said Gregor” (159). This moment establishes Ares’s loyalty and Gregor’s selflessness while also setting up the final rescue. In a twist, however, Ares doesn’t have to save Boots because Luxa and her bond intervene. These carefully placed hints enhance tension and reward attentive readers when the novel reveals the truth.

Gregor’s uncontrolled “rager” abilities terrify not only him but also those closest to him, foreshadowing later moments. During the tentacle attack, Gregor loses control, striking relentlessly until Mareth shouts at him to stop. His violent outburst frightens even Boots, who cries out “Mama!” in distress, showing that his transformation shakes her normally fearless nature. This heartbreaking moment highlights how the raw, uncontrollable violence of Gregor’s rager state overshadows his instinct to protect his sister. Boots’s cry foreshadows a moment in a later chapter when the baby rat Bane echoes Boots’s cry of “Mama!” in his own fear, creating a powerful parallel between them as innocent figures overwhelmed by violence. The repetition of this plea emphasizes the novel’s themes of innocence and introduces The Impacts of War, Violence, and Prejudice as a theme. Gregor’s external struggle to control his rager instincts likewise reflects his internal struggle over whether strength comes from power or restraint. Twitchtip later confirms the terrifying nature of ragers, explaining that they become unstoppable in battle, deepening Gregor’s fear that his abilities could turn him into a weapon rather than a hero. However, he embraces his rager identity after he assumes that Boots didn’t survive the flood.

Gregor’s decision to save Twitchtip highlights his moral strength and challenges the deep-seated prejudice among the Underlanders, further developing the theme on the effects of war, violence, and prejudice. When Gregor insists on rescuing the rat, the others—including Howard, a sworn healer—refuse, exposing how wartime biases override their duty to help those in need: “‘You make me the sickest of all!’ said Gregor. ‘You were just down there a minute ago. You got rescued! And what about what you swore? About saving anyone in water trouble! In peril! What you said! What about that?’ Howard’s face flushed. Gregor had touched a nerve” (150). Gregor’s outrage at their indifference, especially Howard’s, emphasizes his belief that morality shouldn’t be conditional. Luxa, too, struggles with this idea, fearing that aiding Twitchtip will make her as treacherous as Henry. Gregor reassures her that compassion doesn’t equate to betrayal because empathy can transcend generations of hatred. Twitchtip herself hesitates to trust Gregor, assuming that he’ll reject her like other humans, but his actions defy her expectations. All these scenes underscore the novel’s critique of prejudice, showing how fear and history shape perspectives but that genuineness and kindness can overcome prejudice arising from fear.

Gregor’s influence on fairness fosters real change and acceptance. This is evident when Mareth and Howard risk their lives to save Twitchtip during the serpent attack: “‘A serpent bit [Mareth] when we went to help Twitchtip.’ He laid three catch cloths over the wound” (197). Their shift from indifference to self-sacrifice demonstrates that prejudice isn’t absolute; it can be unlearned through experience and understanding. Mareth’s severe injury in the battle further emphasizes the cost of this change, since overcoming prejudice isn’t easy or without consequences. Still, the others’ willingness to help Twitchtip proves that Gregor’s empathy isn’t naive but transformative, capable of reshaping alliances and challenging long-held animosities. By showing that trust and compassion can bridge divides, the novel shows that heroism lies in breaking cycles of prejudice and hatred, introducing the theme of The Ethical Dilemma of the Empathetic Hero.

Pandora’s sudden death escalates the stakes, reinforcing the brutal reality of the Underland. While Gregor and his allies narrowly escaped past battles, Pandora’s gruesome fate (being devoured by the mites she sought to feast on) is an irreversible loss. This moment, which follows the classic fantasy trope of raising stakes through a companion’s death, is especially shocking because she’s the first to die. Her loss shatters any illusion of safety, making the dangers feel immediate and personal. The emotional weight is evident in Luxa and Howard’s grief as they mourn together in rare vulnerability. Luxa’s words, “‘She will fly with you always,’” (181) emphasize the depth of human-bat bonds, adding to the novel’s world-building and emotional stakes.

The presumed loss of Boots marks Gregor’s transformation and the shift into Part 3. Until now, he resisted fully embracing his violent instincts, but believing Boots is dead destroys his restraint. The prophecy’s line “Die the baby, die his heart” (200) becomes literal, devastating Gregor. Consumed by grief, he commits without hesitation to killing Bane. His internal struggle vanishes, replaced by ice-cold determination, which the novel illustrates through imagery: “The ice had come up over his throat […] Gregor felt the last bit of warmth disappear as the ice went across his forehead and up over the top of his head. There was nothing left that anyone could do to him now. […] ‘I’m going to go kill the Bane’” (201). His change signals the final stage of his journey: He no longer fights to protect but to destroy. By stripping away his last emotional tether, the novel establishes that Gregor will be a darker, more relentless character for the climax.