The Museum treats this period as creator-identified history, not fully platform-verified biography. Public pages for myhappylittlebanana and TheTratedGamR are still discoverable, but the current platform metadata does not independently prove that Braiden controlled them.
Why keep abandoned channels?
Because the music project did not begin in a vacuum. Gaming uploads, parody culture, editing, thumbnails, comments, usernames and learning how a public channel behaves are all part of the creator history—even when the content itself belongs to another era.
The point is not to make every old account part of Pollux lore. The point is to show that the public-facing instinct existed before the current visual language, distributed catalog or AI-assisted workflow.
The unresolved node
captinbboy2010 remains in the archive because Braiden identifies it as an early handle. The August 2026 research pass did not recover a confident public match, so the Museum does not invent a channel URL, subscriber count, upload history or exact dates for it.