#Mel’s analysis

[kinardsevan]

what do we think about "darling"? I can see Tommy using that for Buck. It´s a little bit old fashioned but still so cute. I also need either one or both of them to refer to the other as "my man" at least once. bonus point if it happens with Buck getting possesive because maybe someone is flirting with Tommy

So I could absolutely see Tommy using darling as well. I don’t know that Buck would reciprocate, but he would love the way it sounds coming out of Tommy’s mouth. He likes it even more when Tommy uses it sarcastically when Evan is being a brat. I could also see Tommy using “dear”. Evan doesn’t like it at first because it feels antiquated and he’s like “we’re not 65 and retired”, but Tommy just slides it in every now and then. And then the first time he gets hurt on the job—it’s not even that serious, but he’s doped up on pain medicine—and Evan is emotional about seeing him in that state, he tells Tommy he can never get injured again, can’t die on him. And Tommy’s all “yes dear, you can go first”, and that makes Evan melt, come around on the name. Tommy doesn’t use it often, but occasionally he slides it into a text, or while they’re having dinner/dinner parties with their teams. Hen and Chimney are absolutely disgusted at how domestic that makes them sound, and it straight up nauseates Eddie because of how openly in love his two best friends are.

My man: Evan uses this a lot. Initially, just to irritate the shit out of Gerrard, and even at the behest (a little bit) of the rest of his team, because outwardly, Evan refuses to be seen as flappable to Gerrard. He’ll do anything to keep the attention off of Hen and Chim because they’ve suffered enough under Gerrard. And he absolutely refuses to see his best friend or dad be bullied.

Except, maybe he takes it a little too far. The others tell him to lay off when it starts to become clear that Gerrard doesn’t give a shit if anything happens to him (truly, he doesn’t care if they all die in a fire. Then he could have a brand new team and he’d ensure he could hand-pick het-cis-white men.)

But Evan being Evan, goes Full Buck when some kids get stuck in a fire (or something tragic like that), and nearly dies getting them out. And this time it’s Tommy freaking out at the hospital…until he lays eyes on Gerrard, who’s only showed up to make it look good to the chief when he comes asking about what happens. It takes the whole team to hold him back in the waiting room because he’s yelling at Gerrard that the man is only doing this because of him. Something to the effect of “you’d destroy anything that is mine. And he is mine.”

And then later, when Evan is settled in a room and can have visitors (because again, he’s injured, but it’s not serious), Chimney tells him to go get his man, and the comment makes him laugh a little, because Tommy realizes why Evan has been calling him that for weeks now. And when he gets into the room with Evan, he’s kissing both of his hands, wrists, arms, cheeks, just repeatedly telling him “you can’t break this because it’s mine, and I need it”.

As for when he would finally call Evan “my man”, he would use it in an entirely different context. While Evan uses it to everyone in lieu of Tommy’s name, Tommy uses it with strangers, any time they get the privilege of witnessing Evan go Full Buck. Handing out candy at a Trunk or Treat dressed in a full costume? “That’s my man”. Trying to do a bull ride for a full 8 seconds (Evan says it’ll help in the bedroom)? “That absolute idiot is my man, and I love him”. Making the rounds at one of their dinner parties (that Bobby and Athena somehow end up hosting), a cheeky “that’s my man” as Evan swoops around the group, being ridiculous with his friends. On the news while Tommy is on shift, talking about something the chief wanted press for, to his friends/colleagues “that’s my man” (because the probie dared to point out that he’s hot).

When Evan decides to testify against Gerrard in the hearings for his pension/job/etc., Tommy gets the privilege of also attending. Someone on Gerrard’s team dares to ask who this guy is. Post-hearing, Tommy is waiting for Evan to come out and he spots those people again. Proudly, “that is my man”.

[iminmywritersdungeon]

Been thinking about Arcane and good parents v loving parents. Parents who care so so deeply but are toxic and poisonous.

Silco loves his daughter but he put a gun in her hand. He would give his life for that girl but he wouldn’t heal for her. He would burn the world to the ground but he wouldn’t plant a tree.

Vander seems cold and uncaring but he fights for those kids until his dying breath. He’s gruff and mean, he takes his kids things and he punishes them but he shows them what it means to live the way they do, what it means to be angry and to see where that anger goes.

Ambessa Medarda loves her daughter but she is a warlord, a conqueror. If her daughter fails to fit the mold then she will be conquered too. She will chisel away at the marble of her children and when the cracks become visible she will toss them out, and when golden tears bleed through the chips in the stone she will cry out “I did it for you!” And yet they are empty words. The golden sunburst of her daughter will wilt in her shadow.

Cassandra kiramman is so cold and venomous and like a disease to everything her daughter loves, but she also gets them a meeting with the council. She spreads her vulture wings over her daughter, clouding the sun, drowning her, and still dutifully feeds her when she asks oh so nicely, when she can no longer deny her.

Ximena Talis is both loving and good because she does what she needs to keep her son safe and by god does she love him. She will make the sacrifices and make the choices and make sure her son can live the life that he almost lost.

Singed is like Viktor’s father, but Viktor will be crushed underfoot if he cannot make sacrifices, love and legacy. He will tear his own body to shreds and he will look into that scarred face and he will feel his body destroy him.

And of course, there are Jinx and VI’s birth parents. We know nothing about them, not their names, who they were, whether they were cold or warm or caring or cruel. What we know is that they were on that bridge. What we know is that they wanted better.

Parenthood will rip you to shreds if you cannot handle it. It will riddle you with bullets and it will cry over your corpse are you willing to lose them, are they willing to lose you?

Is there anything so undoing as a daughter?

[cl-0v3r]

Mel is alive, but at what cost

Mel was nearly killed TWICE, her mother began being a struggle, she'd been thrown aside and trying her best to stop her, her boyfriend is not doing well, neither is anyone else (can't blame them) and the fact that she hadn't cried or spoke much about this situation to anyone a single time?? She IS upset about every single thing, yet she stays strong and enduring every bit of torture. The most she did was tell Jayce that Ambessa put her palm on the table, and let him know that she is going to push for hextech. That's it, nothing remotely related to her feelings.

The fact that she was constantly looking at Caitlyn, being able to understand her grief and knew she was in pain?? Mel knows this feeling. She'd went through it.

And in the end SHE has to pay the price of her mothers incompetence.

The intro is very much foreshadowing, we know the hands represent black rose/LeBlanc.

This is what happens in act one, she gets kidnapped by them. The lyrics do correspond to the characters as well (not just Mel, everyone.)

"Tell you you're the greatest" plays as a petal of the black rose floats down the screen, I think it adds significance to the power this organization holds, possibly the Medardas greatest foe.

"But once you turn, they hate us" both Ambessa and Mel were present in this line, I think its foreshadowing for when Ambessa switches up for whatever reason and goes against both Piltover AND Zaun. And Mel WILL go through change as well, a change that could hurt her relationship with others, and receive interest from others too.

"They hate us" could be read individually too, I feel like its a sort of "realization" ?? Perhaps Ambessa WASN'T the one that switched up, maybe Piltover switched up on them, and maybe Mel JUST got out of wherever she's taken to, and saw the mess Ambessa had done to her city??

I think this represents ACT TWO.

The hands pull away and it sort of looks like Mel is fighting back, a "get away from me" type of scream. you know what this reminds me of??

Don't mind me just pushing my Jinx/powder-Mel parallel agenda

Here is when i think Mel truly learns about LeBlanc/BR, she curiously and slowly goes to grab the rose, she learns about the history between her Mother and them, Kinos death, and most of all, learns about HERSELF. The lyrics speak otherwise.

"Pray away, I swear

I'll never be a saint, no way"

This feels like a parallel to caitlyn of sorts if that makes sense. Caitlyn had done everything to try and stop the council from attacking the Undercity, she kept her mouth shut when Jayce asked about Jinxs grenade, she was willing to protect Vi and the undercity, but how many times has she been tossed around? She'd been burned, exploded, kidnapped (god knows what happened during that time) and hit in the face by the same person, her MOTHER died because of the same person. She has every right to go insane. And she is hunting ONE person, which is Jinx. Although she is harming the people around her along the way.

What if Mel goes through a similar situation? Her mother pushed for war in her city, she dragged the enemy along with her even if she didn't mean to, she manipulated everyone around her INCLUDING Jayce, she LITERALLY got Mel hurt from the chembarons attack and killed so many people during a MEMORIAL to get her hextech weapons, Elora is most likely DEAD, not to mention whatever happened in the past between them. And the thing is, this will NEVER end throughout the entire season.

And what if she learns what she is? That she's 'blessed' by Kindred? The fact that the wolf is quite literally in her blood?

I feel like the "ill never be a saint, no way" also sort of indicates Mel will realize she'll never be able to push for peace and mercy like she always hoped for no matter what, and she comes to accept that as much as it hurts. But not like how ambessa accepted the wolf, but she sort of realizes she needs to push a little violence, towards nobody but the one and only, Ambessa "fine, if you want me to be like you, I guess I'll be like you towards YOU." Type of acceptance.

I think its also related to Mels new outfit too, she's dressed like her mother, in red and all of that. I will still stand by the idea that she has plans to decieve, but she will do something she doesn't want to do.

Mel was left with no choice, that lyric sounds like realization, acceptance, but also like a plea at the same time, an "I'll never be who I wanted to be" because in the end, she's still a Medarda, she's still her mothers daughter, she still has violence in her veins, she will never not suffer from the weight her name holds, and she will never escape it either, its like a shadow.

The Characters won't be themselves at their core this season. And those vital parts of their characters that represent them are no longer there in the intro, they all have given up what makes them, THEM design wise. (e.g.) Vi without her tattoo, Viktor hiding his identity with the mask. And the thing is, they did that to themselves because they do self-harm, they're changing themselves because THEY want to, they're forcing themselves to do that, they think they're undeserving and they're erasing their past selves.

But Mel? Mel doesn't have her gold accessories, Jewelry, or her Armor, she'd been stripped bare and hidden away because of the brutality of her name. She pays the price her mother brought to HER city. She's forced to change herself against her will, because nobody is giving her a chance to push for her ideals.

This entire theory never ends, and with all of this? I kinda do see Mel actually committing Matricide, it lifts the "Ambessa will die" theory further.

[booknbrew]

Something I just realized and had to point out is:

Almost all of Arcane's parent characters were "undone" by their children -

Silco was killed off by his adopted daughter Powder/jinx, after years of backing her up, no matter what she did and who was effected by it.

Vander was killed and revived after trying to save his remaining living children Vi and Powder, after spending years taking care of them and protecting them with their adopted siblings Milo and Claggor.

Felicia died in battle fought for the future of her daughters.

Cassandra died in the attack on the council after Caitlyn convinced her that change is possible and that peace is achievable

Ambessa died after fighting with the young woman she was mentoring and shaping in her image, in her daughters arms, after finally recognizing Mel's strength.

Grayson died in the first shimmer monster attack as an officer of Piltover that was the first to try and bridge the gap between the two parts of the city. She was one of Caitlyn's mentors that did target practice with her and surely taught her a lot as a markswoman and a human being.

Now, you remember that "almost", right?

Well, Ximena Talis, Jayce's mother is the only one not to die in the show for her son's ideals. She did come very close, but not for her child's ideals that inspired her to change for the better or acknowledge him: but similarly to the others - to ensure his future.

In the end - her son ended up gone for her and everyone else's future.

[neo--queen--serenity]

I think it was a very fascinating and deliberate choice on the creators’ part to give the two people closest to Jayce—Viktor and Mel—the same imagery that evokes the mystery mage who helped Jayce when he was a child.

We see this visual callback first in Viktor, in Act I:

This makes sense, of course, once we know the mystery mage is Viktor—albeit a future version of himself. But what struck me is the fact that they also gave Mel Medarda the same treatment.

When Jayce first sees her after the awakening of her magic, he sees that image—a being whose mere presence caused his weapon to light up in recognition, paired with a robe covering their identity—and I think there’s a great possibility that he asked himself if this was the one; the mage who saved him when he was young.

Once she reveals herself, he visibly relaxes, and they reconnect. But the physical change in her is clear in her body language. She now moves like the mage in Jayce’s memory. She hides her face in her hood often, something she never used to do before. And her mannerisms are slightly different, which could easily be accounted for due to her not being used to the magic now alive in her body. But it’s the change itself that makes the viewer do a double-take.

It could just be that Mel and Viktor are the only mages we see up close in the series. Perhaps it is simply what happens when magic transforms their wielder in subtle, physical ways.

But I think the parallel holds narrative weight as well. The two people with the most affection and influence over Jayce both end up touched by the Arcane in ways that are both transformative and involuntary. The are changed after their bodies become vessels of magic.

I think that’s why the creators gave both Mel and Viktor the same iconography that would invoke a clear memory from Jayce’s childhood as the symbol that started him on the path to magic.

Viktor actually was the mystery mage from Jayce’s memory, and after the finale, the viewer knows why. But I think, implicitly, the point was that either one of them could have been.

[melmedardaapologist]

with arcane’s focus on visual elements, something that’s been nagging on me lately is mel medarda’s final design and why it compounds the tragedy of her story:

firstly, when we see mel in her flashback, she’s already wearing her significant white/gold, but tempered with blue—noticeably missing her mother’s greys and reds, even then, showing her idealogical differences

then in piltover, we see mel as her own self-actualization—all white and gold and black, colors connected to power, and with an elegant cut that still places her slightly apart from piltover fashion. it shows her place as a non-combatant (long skirt) and someone privileged (the pure white) and wealthy (the gold. so much gold.). this is mel medarda at the pinnacle she’s worked so hard to achieve—it’s elegant because she is elegant

which of course becomes subverted when we do see the gold accessories taken away and the white dirtied when she’s kidnapped by the black rose—this is the first and only time we see mel in actual disarray, and it shows how vulnerable she is when she’s outside the political sphere

and after her transformation, we have this costume change, where aside from the increased gold (now representing magical ability instead of just wealth), we have mel in a a skin-tight catsuit style getup, allowing for greater movement, and her hair done in micro-braids in a style that won’t affect her center of gravity. at first, when i was watching, i was confused (especially about the hair), but then i realized—

this isn’t mel dressing herself to reflect a change, this is leblanc’s vision of mel, where power is swiftness and she is markedly different than others in a way that is now impossible to ignore

and she tries to return to her previous sense of self with the white hood, going back to a trademark of her style, but notably this is an outfit worn to conceal, not reveal and show off like her previous iconic dress, and her change is visibly with even just the hood off

and when mel accepts black rose’s help and betrays them and her mother dies, the white hood disappears—try as she might, she cannot go back to who she was, and she stands before noxians as a mage and mother-killer and a wolf, something dangerous

and then, when we see mel leaving piltover, she’s wearing nothing of her original self, but a combination of black rose’s getup and her mother’s colors. there is almost nothing of “mel” in this outfit, as if she’s been subsumed by these two identities—noxian and mage

even her makeup has shifted, with the red line under her eyes and the gold in her lower lip directly copying her mother

this isn’t a mel who’s realized herself in a new identity. this is a mel who, when faced with the enormous loss of her brother, mother, lover and former identity, has fallen into the definitions and roles that were presented to her, and who is now primed to continue the cycles started by her predecessors

and moving on from arcane, i think it would be fascinating to see mel in one of the newer shows to see how she grapples with this and if she either falls back into tradition and dooms herself, or if she’s able to break free and reforge her identity on her own terms

[dancingdaffodils08]

Omfg Jayce coming to understand the destruction that magic can cause and resenting it AFTER two of his loved ones manifest themselves in it is so…

[rabbiitte]

Queer Coding in Media: The Case of Jayce and Viktor.

Let's address what Christian Linke recently said about Jayce and Viktor's relationship because this is making some noise in the community:

According to the co-creator, Jayce and Viktor love each other like “brothers”.

Christian states that he doesn't understand why people see their relationship as a romantic one.

Linke also added, after the end of the series, that Viktor is canonically asexual and dismissed a possible romantic relationship with Jayce due to that reason.

We'll expand on these points next. But first, some context.

| About queer coding...

If Jayce and Viktor's relationship is seen as beyond brotherly, it's because it was portrayed that way. Their relationship is very queer coded.

Queer coding refers to the practice of subtly implying that a character in a piece of media is part of the LGBTQ+ community without explicitly stating or confirming it. This is often achieved through subtext, symbolism or specific character traits associated with queerness. This often arises due to societal restrictions, censorship or creators intentionally embedding queer elements into their work.

Queer coding for a couple in media involves using subtle visual, narrative or dialogue-based cues to suggest a romantic or deeply intimate connection between two characters without explicitly confirming their relationship as romantic or LGBTQ+. This type of queer coding focuses on the dynamic between the two characters rather than just one individual's traits.

When discussing queer coding in media, the examples can include both the content of the relationship itself (dialogues, interactions and dynamics) and visual and non-visual narrative (cinematographic techniques, narrative techniques and the use of music). Both aspects—content and narrative—are essential to queer coding because: a) Content provides the material that audiences can latch onto (dialogues, dynamics or gestures) and b) the narrative guides how the audience perceives this material (through visuals or music, for example).

Below are examples and methods used to queer code couples:

Content of the relationship (character dynamics and dialogues):

These are the in-universe moments or dialogues that give romantic or emotionally intense undertones to the relationship. For Jayce and Viktor, this includes:

1. Use of subtext in dialogue or relationships:

Ambiguous or "more-than-friendship" dynamics: Characters have intense emotional bonds or interactions that go beyond typical friendships but stop short of being explicitly romantic. Jayce and Viktor’s connection, for example, is filled with vulnerability, admiration and devotion beyond brotherhood. Their willingness to risk everything to save each other in each timeline adds a tragic, almost romantic layer to their bond. Jayce’s comment calling Viktor “beautiful despite his imperfections” and their mutual sacrifices suggest a deep connection that goes beyond friendship or platonic relationships. Their bond, tied to time loops and destiny, feels more like a soul bond with a cosmic significance that transcends a typical brotherly dynamic. In other cases, this would be a romance.

Loaded Dialogue: Lines of dialogue may carry double meanings or suggest emotional or physical intimacy without being overt (e.g., characters use ambiguous terms like partner, special or soulmate, which can suggest deeper feelings without explicitly labeling the relationship). For example, if one says, "I’d sacrifice everything for you," it resonates beyond platonic territory. Dialogue between Viktor and Jayce is filled with layered meanings that suggest a connection deeper than traditional friendship. Here are some examples:

When Viktor’s former mentor warns him about sacrificing love and legacy, Viktor instinctively replies "Jayce will understand," directly associating Jayce with love and signaling how central Jayce is to his emotional world. Similarly, Jayce’s decision to abandon politics to return to the lab is encapsulated in the line "my place was always here in the lab with you," which emphasizes that his devotion isn't just to their work but specifically to Viktor. The repeated use of "partner" by Jayce further blurs the lines between professional collaboration and emotional intimacy, as the word carries dual meanings, suggesting equality and closeness. The term is somewhere between friends, brothers and more than that. Hence, the term can be freely interpreted. Viktor later reflects on their bond by stating, "it was affection that held us together," acknowledging that their relationship transcended shared goals and was rooted in genuine emotional warmth. Finally, Jayce telling Viktor, "there is beauty in imperfections," as he admires Viktor’s struggles and physical challenges, conveys profound validation and care, elevating their bond to one of deep emotional resonance. These lines collectively demonstrate how their dialogue is charged with a sense of intimacy and mutual admiration, allowing the relationship to be interpreted as more than platonic, hinting at queer coding through its emotional depth and layered expressions.

2. Body language and interactions:

Lingering gazes or physical proximity: Close, lingering touches, extended eye contact or standing too close for “just friends” —common romantic cues—are often used. For example, long hugs, holding hands or standing closely during emotional moments are subtle ways of suggesting attraction or intimacy. In Jayce and Viktor's case, Jayce is almost always the one who initiates the physical contact. Jayce's non-verbal language with Viktor is marked by gestures of reassurence with a hand on his shoulder, hugs without centimeters of distance and fast moves to help Viktor in the face of his weakening due to his illness. An important detail to take into account is Jayce's reaction to Viktor and Mel's return. When Viktor returns from the dead, Jayce surprises his friend with a hug that knocks him off balance by his strength. When Mel returns after no one knew of her whereabouts, Jayce doesn't even hug her, but instead complains about why she didn't save Viktor.

Protective gestures: Scenes of one character sacrificing for, protecting or expressing deep vulnerability to another can suggest more intimate feelings. Jayce and Viktor's relationship also has the presence of hundreds of moments in which they both profess for the safety and well-being of the other. In season one, after having sex with Mel, she wakes up in an empty bed. It turns out that Jayce was with Viktor, waiting on the side of the bed for him to wake up. This detail alone shows where Jayce's loyalty lies. But, overall, Jayce is very delicate and helpful towards Viktor. In turn, the only moment in which Viktor initiates physical contact is to reassure Jayce so that he doesn't feel pain on the astral plane. Both join their foreheads in a significant gesture of appreciation and affection and console each other at the end of their existences.

3. Avoidance of heteronormativity:

Lack of romantic interest in the opposite sex: A queer-coded character may show no explicit attraction to the opposite sex while forming deep emotional bonds with same-sex characters. This is especially true for Victor, who has had no interest in any character of the opposite gender during the two seasons. The guilt Viktor felt over Sky's death shouldn't be confused with sexual, romantic or aesthetic attraction. Viktor practically didn't even know Sky's name during the first season and, despite knowing each other since childhood, Viktor continues to call her "Miss Young" during the second season. As you may already know, Sky's presence in the second part of Arcane represents what Viktor has left of humanity. Jayce is a separate case, since he did have a sexual-affective relationship with Mel, despite not being officially a couple. However, he always put Viktor's well-being above his relationship with Mel.

Unconventional partnerships: Instead of marrying, having children, or living “normal” lives, queer-coded characters often follow nontraditional paths. The unconventional partnership between Jayce and Viktor lies in their shared path of devoting their lives to science and progress instead of following more traditional societal expectations. Their bond, rooted in their shared ambition and mutual understanding, creates a life partnership that revolves around innovation, discovery and reshaping the world. Together, they prioritize their intellectual and creative pursuits over conventional relationships, with their lab becoming the core of their connection and purpose. This can be seen, for example, in the moment when Jayce decides to resign from politics because he realizes that his place is next to Viktor in the lab. This partnership not only defines their lives but also strengthens their relationship, making it deeply meaningful and unique in its intimacy and shared vision.

Visual and non-visual narrative (cinematographic techniques, narrative techniques and music):

These are the deliberate storytelling choices that imply deeper subtext or allow the audience to interpret a couple's bond as queer. Examples include:

1. Visual narrative:

Symbolism (in scenes): are visual and narrative moments intentionally designed to evoke ambiguity, emotional depth or hidden meanings in a relationship. These scenes often rely on subtext, metaphor or visual framing to suggest intimacy or connection between two characters, leaving their nature open to interpretation. For example, Jayce's campfire scene. Fire might symbolize Jayce's internal turmoil. Mel appearing first may reflect her role as a significant figure in Jayce's life, while Viktor appearing next could symbolize a deeper, enduring connection. The fire "burning away" Mel and transitioning to Viktor might suggest that, in this moment, Jayce's thoughts are consumed by Viktor, representing a priority or emotional focus shifting toward Viktor. So, Viktor isn't simply a colleague or friend but someone whose presence looms large in Jayce's thoughts, surpassing Mel's. While the scene might not explicitly state anything romantic, the visual choices align with tropes often used to convey profound emotional connections, making it easy to interpret the subtext as romantic or deeply personal.

The decision to interweave Viktor’s scene with Jayce and Mel's scene while having sex is highly unusual too. If Jayce and Viktor are purely platonic friends, such a juxtaposition does feel strange. I understand, both Jayce and Viktor are "merging" with something beyond themselves, but can you imagine a similar scene with Jinx and Vi? If Jayce and Viktor's relationship were purely professional, friendly or brotherly, such imagery wouldn't normally feel warranted in storytelling.

Parallelism: In storytelling, parallelism refers to the use of comparable or mirrored elements—such as characters, themes or visuals—to draw connections or contrasts. It often involves showing two or more situations, characters or relationships side-by-side to highlight their similarities, differences or shared significance within the narrative. In Arcane, the creators align Viktor with Mel through parallels. Through this technique, creators seem to suggest that Viktor holds a similar or even equivalent place in Jayce’s life. Since Mel’s relationship with Jayce is explicitly romantic, this framing subtly implies that Viktor could also occupy a romantic or emotionally intimate role.

2. Non-visual narrative:

Music and Lyrics: are powerful tools to subtly hint at romantic or emotional dynamics between characters without explicitly stating them. By selecting specific songs or using lyrics that carry layered meanings, creators can invoke emotions or associations that resonate with queer themes, intimacy or romantic undertones. Songs that have lyrics with open-ended or ambiguous lines, when placed over scenes with queer-coded characters, allow for multiple interpretations. This creates a sense of queerness without labeling it outright, allowing the audience to interpret the relationship as they see fit. As is the case of the song The Line by Twenty One Pilots. Through the line "pull the blanket tight now" you can interpret the song from Viktor's point of view and dedicated to Jayce (since Jayce was the one who gave the blanket to Viktor).

Comparisons and mirroring: narrative parallels with romantic couples, either in character arcs, sacrifices or framing. For example, Jayce and Viktor share a significant bond across multiple timelines. Jinx and Ekko, meanwhile, also share a significant bond in another timeline. This could be interpreted as both couples choosing each other, even, in alternate universes. This is an idea that is commonly related to romantic relationships. Love across different universes is seen as something beyond fraternal and worthy of epic romantic love. In the same episode that Ekko meets Jinx in another timeline, Jayce meets Viktor in another timeline too. The same thing happens in episode three of season two. In the same episode where Vi and Caitlyn fight and part ways, Jayce and Viktor also fight and part ways. In this way, Jayce and Viktor follow a similar pattern and theme (albeit on a larger scale) to that of the other canonically romantic couples in the series.

Subtext in dialogue: refers to lines with double meanings that subtly suggest emotional or romantic undertones. The choice by the creators of lines that are commonly associated with romantic relationships such as "beautiful despite the imperfections", "in all timelines, in all possibilities, only you can show me this", "my place is in the laboratory, with you" or "it was affection that held us" convey an ambiguous message that leaves the possibility of multiple interpretations open. The use of the term "partner" was not accidental either. This word is commonly used by queer individuals to signify a romantic relationship while avoiding gendered language. Jayce and Viktor not calling each other “brothers” is significant because it leaves room for ambiguity, suggesting that the creators might not have wanted to firmly define the relationship. Jayce only called Viktor "brother" once and then insisted on the term "partners" until the end of the series.

As you noted, these aren’t accidental choices—they are purposeful creative decisions made by team members who do support the romantic interpretation of Jayce and Viktor's relationship. Animators, voice actors and designers contributed to shaping this relationship through subtle creative choices. For example, animators might have chosen specific expressions or gestures to convey deeper intimacy, even if this wasn’t explicitly stated in the script. Leaving their relationship ambiguous might have been seen as a “safe” route in the face of disagreements.

In collaborative works like Arcane, no single individual (not even Christian Linke) dictates the entirety of what's canon or not. Creative contributions from diverse team members with their own agenda and interpretations also shape meaning.

If the intention was to show a “brotherly” relationship but the execution led to widespread interpretation of a romantic one, it's failure in storytelling. If the intention was to show a "queer coded" relationship and the execution led to widespread interpretation of a romantic one, then it's success in storytelling.

Death of the author: Viewers also have their own interpretations and that's valid. Varied interpretations shouldn't be dismissed. Here the death of the author applies. This term refers to the fact that, after an author publishes a piece of work, that piece ceases to belong exclusively to the author. Once a work is released, it belongs to the audience as much as the creators. If significant parts of the fanbase interpret Viktor and Jayce as more than friends, that interpretation becomes part of the narrative’s cultural impact, regardless of authorial intent.

The interpretation in media of queer codes is deeply influenced by cultural cues. Although this changes from society to society, social cues are the same for everyone. If Viktor and Jayce’s interactions evoke a sense of romance, it’s because the storytelling taps into those cues, whether intentionally or not. The relationship between them two integrates cultural and social codes typical of queer relationships.

Cultural codes: are tied to traditions, beliefs and shared understandings within a specific culture or subculture. They include symbols (objects, gestures, or imagery that carry specific meanings within a culture —e.g., a wedding ring symbolizing commitment—), narrative patterns (storytelling conventions that audiences recognize, such as the "star-crossed lovers" trope or visual parallels that suggest a connection between characters), expressions and language (words, phrases, or metaphors that carry connotations shaped by cultural usage —e.g., the word "partner" often implying romance in contemporary Western culture—.

Social codes: are the behaviors and norms that define interactions and relationships between individuals or groups. These codes are often context-dependent and include: body language (physical gestures or proximity that suggest intimacy, power, or affection —e.g., lingering touches or intense eye contact indicating closeness—), relationship norms (expectations about how certain types of relationships—platonic, familial, romantic—are expressed in actions and language) and contextual cues (the way relationships are framed by their environment, such as a candlelit dinner indicating romance or playful banter suggesting friendship).

The way Viktor and Jayce interact is coded in a way that aligns more with romantic love than familial or platonic love. So, asking to associate Jayce and Viktor's relationship with a “brothers” type of relationship would mean having to disregard cultural and social codes.

| Romantic Undertones as "Canon Adjacent”.

As I previously said, the romantic undertone of Jayce and Viktor's relationship would result in a canonically established couple in any other series. So, what I see here is a double standard in romantic representation in the series. For example, many think that Ekko and Jinx are canon after (a conversation that wasn't added to the series and after...) Ekko gave his jacket to Jinx. Jayce and Viktor’s dynamic features more romantic subtext than that but they still are dismissed as "brothers". Is this homophobia? No, of course not. How could it be homophobia if Arcane shows an established lesbian couple? Well, let me tell you, lesbian representation is more socially accepted in male-dominated spaces due to fetishization, whereas romantic relationships between men are less embraced. The idea of two men in love can lead many people to question the masculinity of these men and the masculinity associated with characters like Jayce or Viktor is vital to League of Legends. Making a canonically gay male character is riskier for the franchise because, in lol, masculinity is an element that, many times, determines the election of one character over the other.

Unlike Vi and Cait, among whom (I understand) there was the belief of a romantic relationship, Jayce and Viktor were never associated in that way. So, I can see the risk.

If Linke intended to focus on male friendship, that’s fine, but dismissing other interpretations, especially in a story as emotionally charged as Jayce and Viktor’s, can come across as limiting or dismissive of queer readings, whether intentional or not. It would have been better for Christian Linke to shut up and let everyone have their own interpretation about Jayce and Viktor's bond. Instead of insisting on interpreting Jayce and Viktor’s bond as “brotherly”, it would be more inclusive and respectful to let viewers interpret their relationship freely. By insisting on framing Viktor and Jayce as just “brothers” or “friends,” the show risks falling into the “no-homo” trope, where creators deliberately steer clear of portraying characters as gay despite clear romantic subtext.

| Linke's arguments.

Arguments like "media lacks non-romantic platonic relationships" feel insincere because these type of relationships aren't underrepresented in media. That crisis never existed. Many popular shows and movies focus on deep, platonic male bonds (e.g., Sherlock Holmes, The Lord of the Rings, Supernatural). While it’s admirable to showcase strong male friendships, it’s not a groundbreaking theme. In such a case, there is a lack of representation of non-romantic platonic relationships between men and women. These type of relationships are equally rare and more deserving of advocacy, but we still have timebomb (Jinx and Ekko). In conclusion, media has no shortage of non-romantic male-male bonds, but LGBTQ+ male romantic relationships remain underrepresented. So, Christian Linke's dismissal about JayVik was even more noticeable after that argument.

Also, I would like to add that referring to a relationship as a "romantic" one doesn't diminish the importance or depth of a bond. Friendship isn’t erased by romance. In fact, many memorable romantic relationships in media are related to friendship (e.g., Anne and Gilbert from Anne with an E). But, to call it a brothers-like relationship would diminish the profound, cosmic depth of their connection because their bond is about recognition, unconditional support and shared purpose, even at the cost of the world. It’s poetic and tragic, resonating with themes of love, identity, and the human condition. The time loops, their repeated choice to find each other and their interconnected destinies make their relationship feel larger-than-life. For many viewers, this mythic quality resembles soulmate narratives rather than simple friendship or brotherhood.

Another argument that reveals Christian Linke's rejection of Jayce and Viktor as a possible romantic relationship, is the statement about Viktor being asexual. I would like to ask what is the point of revealing this information after the show ended? Representation works best when it's woven into the narrative, not dropped as an afterthought. Beyond that, I think Mr. Linke should educate himself. Experiencing little or no sexual attraction doesn't mean that romantic attraction cannot be experienced. Being asexual doesn't mean that a person can't be gay.

Asexuality: is a sexual orientation characterized by the lack of sexual attraction to others. This means that an asexual person typically doesn't experience the desire to engage in sexual activities with anyone, regardless of gender. However, asexuality exists on a spectrum. Asexuality as a spectrum refers to the understanding that asexuality encompasses a wide range of experiences and expressions of little to no sexual attraction. Rather than being a single, fixed identity, the asexual spectrum includes various orientations and preferences regarding sexual and romantic attraction.

Many asexual people form deep, meaningful romantic bonds and there's no inherent contradiction between being asexual and experiencing romantic feelings. To use Viktor’s supposed asexuality as a reason to dismiss any potential romantic undertones between him and Jayce feels reductive and dismissive—not just of their dynamic, but also of the diverse experiences of asexual individuals.

Let's end this post on a more positive note with Arcane team members who do support Jayvik.

Posts from animators + Jayce's voice actor with a JayVik fanart.

Viktor's character designer + posts from animator.

Moose is the creative director + AgentR is an animator + Mel's voice actress.

[stardvstbby]

Mel and Viktor parallels have me in a chokehold.

Viktor mirrors Mel because she holds Jayce’s physical affections, and because she is the archetype of what he wishes to be - beautiful, confident, able-bodied, and having a solid place in society. In Mel, Viktor sees perfection.

Mel mirrors Viktor because he has Jayce’s devotion and gives the man inspiration to achieve his true goals. He is able to be himself without needing to cater to the whims of others. In Viktor, Mel sees authenticity.

Both of them are dear to Jayce in different ways. Mel opened up avenues he never dreamed to be possible and allowed him to sway those in positions of power. He can be vulnerable with her, and she with him. They provide a sense of safety for one another. Viktor is his partner, the one who believed in him when no one else did and who strives for a goal of helping people that Jayce genuinely wanted with hextech. They push one another with the backing of support.

Viktor gives him hope. Mel gives him peace. Jayce gives them both a stable love that is inclusive of their perceived “imperfections”.

[srslylini]

season 2 has a structure problem and that makes act 1 flow naturally enough and it sets up the next acts perfectly well, but they wanted to do so much more than what they were

1. setting up

2. capable of doing in 9 episodes

had they just cut a few plot lines everything would've moved far easier. For example

1. cut the Smeech thing entirely. Sevika and Jinx don't need this to find themselves together and start a found family. That scene In Silcos office was so moving and everything I always loved about Arcane, stuff like this is what's needed. In fact move the prison break to act 1 and have them handle that together, Jinx can still make Sevika her arm, and everything could've still moved the same. It would've fit so much better and there also would've been so much more time to develop anything else with the magic system and act 2 wouldn't feel like it was overflowing with anything and everything. Isha is a character that as of in the show can be cut so easily and that's so sad because she'd be so interesting. Everything about her would've worked and SHOULD HAVE worked but she also just felt like Plot and a thing to make Jinx sad over again. Either don't do that or make Isha not a character like this???? I liked her scenes with Jinx so much and the scene with Jinx freaking out after finding out that Isha was taken to prison was genuinely so good, I'm still holding on to the hope that they didn't actually kill her

2. either cut that shit with the tree because let's be so honest that basically only happened so that Heimerdinger, Ekko and Jayce could meet, since we do NOT even really talk about the tree in act 2? that was so weird. Like either actually make it a thing or find different ways to let characters meet naturally. I dont know, the show was so good with that in season 1. And if they truly wanted the tree scene at least make it make sense and don't randomly drop it Idk.

3. I LOVE Mel she is like my favorite character but the plot with the black rose takes so much necessary time away from what we actually need to focus on. I heard they want to make different shows so they are setting this up but it just doesn't work. Mel could've so easily been integrated into the main plot line and it would've also made so much more sense at that. Though I'll just wait on act 3 before I judge too hard. (if they actually DARE to make her pregnant Istg)

4. Making Jinx that hero character for only like, what, a few seconds was so strange. I hope act 3 gets that better but that, first of all, happened mostly out of no where and a few touches to her shoulder after the prison scene was also not??? helping??? either set that up from the very start or don't do it at all. She isn't a hero, she is a tragedy and someone who needs help and room to breathe. The scenes where they tried to make that funny, in my opinion didn't land at all. She doesn't need a hero complex she needs calmness and stable relationships. Let Isha live I swear to GOD.

in fact that leads me into the next point

5. Have Vi realize she doesn't want to be an enforcerer sooner? I actually do like how rushed that part felt don't get me wrong, but if they wanted a reunion between Jinx and Vi don't randomly put it into act 2 with barely any build up. Let Jinx and Vi realize it during the fight, they kinda did do that but??? just didn't move that anywhere. it's so strange. If they had cut the Smeech stuff they could've easily used the third episode to make Jinx and Vi slowly reconcile. Which also means I think Vi would've been such a better "symbol" than Jinx. Vi and Jinx, for me, show what Zaun is made of, and Jinx is quite literally the valid pain, distrust and anger of Zaun, and she as well as Zaun desperately need healing. Like that would've been SO COOL. that's just my opinion though, so there is that.

6. If they had made Vi the symbol the conflict between Caitlyn and Vi would've felt a lot more natural as well. Like??? Also Caitlyn should've had so much more time if they wanted that switch up in the end to work. Cut the black rose stuff and that would've worked perfectly fine.

7. Now do NOT get me wrong, Ambessa's character is so interesting and I feel like exploring her is so cool but she and her plot just doesn't fit into the Piltover/Zaun thing. It makes it too big for what the show is. In fact I (and now this is just my opinion, anyone can have their own just saying lmao) would've either cut out Ambessa's character/plotline or subtly continued Ambessas drama with Mel, which would give Mel, who didn't get taken by the black rose in my version, a lot more to do and way more interesting stuff too. Again this is very much my opinion and doesn't mean anyone needs to share it, but I feel like they could've easily made Heimerdinger be the one who gets Caitlyn to where she was/is with Ambessa. It would've expanded Heimerdingers character and it would've stayed in the setting they already perfectly build up, Piltover and Zaun. Also, Heimerdinger wouldn't just feel like a random joke character anymore.

8. The Pit fight stuff could have been SO interesting and I feel had we not stayed with Viktor Christ so much which was also so weird at times, we could've gotten so much necessary insight on Vi. If we follow my idea it could've been Vi forced to be a symbol because of the person she is. The embodiment of Zauns loyalty, strength and resilience. And then the fights that will come out of that forcing Vi to face so much stuff she shouldn't etc etc (I haven't fleshed that one out yet don't come for me) and that could've ended in her pit fighting era, which should've taken at LEAST an episode and not a random montage that just gets forgotten??? for no reason at all. Really hope act 3 talks about that cause??? I feel with Vi as the leader the healing of Zaun would make so much sense, because Jinx realistically can't do that. The idea of Jinx being in that position IS interesting I just feel it wasn't established/developed enough.

9. I really really liked how from the very beginning Viktor's safe haven did not in fact feel safe. There was always a very uneasy feeling and that's what I love about the show. I was always waiting for the shoe to drop and it happened, that was amazing. Though I would've either established a lot of this way earlier on in the show or made it not so, and now walk with me here Ik its magic, unrealistic. That does sound strange but having Viktor suddenly float in space with white silver flowing hair and his dead assistent next to him was... very very out of no where. It was like a lazy show trying to get away with "yeah well it's magic so of course this works" and I hate that because even magic needs explanation and build up. So yeah. Either cut that shit out or have it established sooner. And while seeing the one person who helped Jayce as a kid did kind of help, it still wasn't enough for THIS, though again MY OPINION. Also we spent way too much time there, it was getting ridiculous. So much time could've easily been lent to stuff that actually needed it. I actually laughed out loud when Viktor started the healing process with Vander because come ON now, and I do not think they wanted me to laugh.

10. The stuff with Vander, Silco and Felicia (while cute) was unnecessary and weird. What I liked the most about Vander taking in Vi and Powder was the feeling that he didn't do it because he necessarily knew them very well but because he knew their mom was dead (that did show he and their mother did kind of know each other but so do like all the people in the lanes that is kind of established) and wanted to PROTECT. This new context sadly makes it feel like "well of course he stopped everything and took them with them and cared for them he knew them since birth, duh" when I always wanted to feel "well Vander is in his heart a good man who saw what terrible stuff this war and fighting did and then took in orphaned children because of course he would do that" if that makes sense? I feel this new thing took away so much from Vander, but again that's maybe just me.

11. So many jokes and scenes didn't land with me. The scene with Jinx trying to show Sevika her middle finger was SO GOOD and so Arcane that seeing the scene were they try to make it funny with Jinx's trousers and that enforcerer felt so out of place? Like what. That scene could have EASILY been cut and nothing would have changed at all. And that's what is the worst because there isn't one scene in season 1 that I feel could've been cut and there are so many of them in season 2.

12. Introducing Maddie in act 1 made me believe she'd be a bigger, even more of a threat to Zaun, character than she was and that's so sad. What I loved about season 1 is that every single character mattered. Even those we saw maybe once. This time around I hardly cared at all for any new character because they didn't feel like a Person anymore, they just felt like Plot. In season 1 episode 1 there is this scene, the first scene Vander gets to speak in. The only reason Huck meets the woman and the man to trait was basically so we get to know how the undercity works and establish Vander as basically its leader and protecter; The one people are loyal to etc. But it doesn't feel that way. It's something that naturally happens and every character in that scene, even the man and the woman we never see again, mattered and felt real.

yeah so those were really just my thoughts. I could very much go on but I also don't want to.

[purpleshimmer]

wait I was just rewatching s2e1 and at the part where shoola, salo, and mel are like "how could they have gotten into the memorial service; there must have been someone from the inside helping them" the camera pans to ambessa.

[shitpostingsapphic]

"So THIS character actually never did anything wrong and THIS character never had a good bone in their body to begin with!!" Wrong on both accounts, and you can apply this to just about everyone in Arcane. Welcome to the show. Thank you for coming to my Ted talk.

[afflatusssss]

It was the weight of guilt that sent Icarus crashing down a second time; he wondered if he was always destined to be punished for loving something brighter than himself, even in death.

[undoing-daughters-blog]

is there anything so undoing as a daughter?

[jabberwockey]

Crack theory about Mel's father because I'm actually going insane

Pantheon had such a random presence in this music video and I'm wondering if there's a deeper connection between them than just a trainer. And also, who else could pull Ambessa, "the Matriarch of War" than a God of War?

"You have your father's memory."'

Like Atreus? The man who remembered who he was even after the Aspect of War possessed his body & mind?

Everyone has already pointed out how Solari her armor looks, just comparing her and Atreus's (who was Solari) golden tattoos.

Clan Medarda has had canon connections to the Sun and Shurima even before the retcon (Credit to Zedd0Tak for the pics)

And finally Kino is seen wearing another Mt Targon necklace like the one Lunari princess/priestess was wearing, but now changed to include the Clan Medarda symbol at the top, so they definitely have SOME kind of connection to Targon.

[thomas-jefferson-miku-binder]

I hate Mel Medarda discourse because she’s an insanely well-written character with a lot of depth, but people almost always have only two things to say about her: 1) evil girlboss or 2) never did anything wrong. both make me want to krill myself 🦐

In front of you, there’s a female character born of war who rejects the physical brutality of her family’s name and the regime she was born under. except said violence never really goes away because if it ever does leave, nothing else would remain

This character can and will reproduce the hatred she has always known, just in more palpable ways, ways where she’s allowed to look away — or even better, ways where she’s so distanced from the action itself that where she “looks” doesn’t even matter

It’s also so interesting to think that maybe Mel doesn’t dislike physical violence because it’s “bad” but simply because she does not excel at it The thought that if Mel was maybe stronger or a more skilled fighter, she would be just like her mother tickles my brain. yaaaas Although, to me, that's a more "what-if" scenario than the actual characterization Arcane deceipts

By the way, I do not think Mel is a monster. She clearly does try to be what she considers a "good" person, but the violence she’s always known sometimes escapes (just like in the Viktor scene above — she does not like to be disagreed with).

Sooo insane that she’s a diplomat/politician because yes. what other job in the world would allow her to exercise that repressed violence while also giving her the sense of duty—of goodness.

Mel is stuck at the scene of the execution form her childhood. All she does is repeat the same scenario in her head with different outcomes: sometimes one where she saves the prisoner, another where she doesn’t hesitate (that being the keyword here) to kill her

This reverberation of the violence she suffered is just her manner of coping with that traumatic scene. a way of lessening the pain without actually confronting its cause.

I feel like I need to clarify that no, I do not think Mel is “evil”. I don’t even think she is intentionally manipulative (most of the time), I think she handles people the only way she knows how to, which is probably one of the only reasons she survived Noxus at all (as, to how I see it, there's only a certain extent your House will guarantee your protection in Noxus).

I know the fandom talks a lot about Viktor and Jayce being idealistic, but I rarely see people mention how Mel is just as romantic. Jesus- that’s literally a huge source of conflict with her mother: Ambessa thinks Mel is naive, which to her means weakness, which to her is unacceptable.

I hate that Mel Medarda is forced to be subjected to fandom spaces, because, no, she is not a small bean. no, she’s not an evil girlboss.

Do I believe she is a good person? I think she tries to be (even if her notion of goodness is so heavily aligned with honor, too), and that tells me a lot more about her character than how successful she is at it