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anghraine · 4 months ago

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So one of the revelations from watching the entirety of TOS is that Kirk and Spock's relationship is not only every bit as homoerotic as rumored and then some—though it is—but that they are also incredibly fucking unhinged about it. So for this week's poll, I wanted to honor this discovery!

(The character limitations don't allow for much detail, and in context these are even more incredible, so I'll add the links/clips/summations beneath the cut!)

1— "The Empath" (Season 3)

Context: the girl of the week, Gem, is a member of a species of mute empaths able to absorb others' injuries through sympathy and generally drawn to positive emotion. Meanwhile, Kirk is tortured by other parties in the episode to test her willingness to take on others' suffering, and he falls into an exhausted unconscious heap on a bench.

Gem starts to head away towards McCoy, but is suddenly arrested by something she senses and turns to look at Spock, who is moving over to sit next to Kirk and watch him sleep. When Spock realizes he's being observed, he turns away and pretends to study data in his tricorder. Gem isn't fooled, however, and walks back over to him, touching Spock's shoulder and staring at him with wonder in her face over this simple feeling whatever his emotion is while delicate music plays in the background. See for yourself:

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2— "Shore Leave" (Season 1)

Context: Kirk is fatigued and strained and in physical pain after ... uh, everything (this episode was aired immediately after "The Conscience of the King" and "Balance of Terror," so it's not hard to buy). He tries to stretch out his back and Spock, standing behind Kirk with his hands on the back of the captain's chair, pulls his hands back and asks him if something is wrong. Kirk explains it's just the kink in his back. A pretty female yeoman starts massaging his back (uh) and Kirk welcomes it under the mistaken belief that it's Spock doing it:

"That's it. A little higher, please. Push. Push hard. Dig it in there, Mr.—"

Spock lifts a brow and pointedly steps forward so Kirk can see it's not him, and Kirk immediately orders the yeoman to stop with a meaningful look at Spock.

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(Bonus episode points: Spock's smug satisfaction at tricking Kirk into taking shore leave where McCoy failed, and them grasping at each other when they're in danger.)

3— "A Taste of Armageddon" (Season 1)

Context: After Kirk successfully uses a risky gambit to trick two neighboring peoples into making peace rather than continuing to murder millions of people via computers, he explains his thinking:

It was a calculated risk. Still, the Eminians keep a very orderly society, and actual war is a very messy business. A very, very messy business. I had a feeling that they would do anything to avoid it, even talk peace.

When Spock is dubious about acting based on "a feeling," Kirk adds:

Sometimes, Mr. Spock, a feeling is all we humans have to go on.

Spock replies:

Captain, you almost make me believe in luck.

And then Kirk dials it up to:

Why, Mr. Spock, you almost make me believe in miracles.

Then the camera just focuses on Spock visibly trying to process this and the episode ends.

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4— "Requiem for Methuselah" (Season 3)

Context: this is one of relatively few episodes in which Kirk actually gets to pursue a woman because he likes her rather than desperate circumstances; as usual with people he cares about, she dies. He's so emotionally drained at this point in the show that, upon returning to the ship, he describes his immortal rival for her love and himself as "A very old and lonely man, and a young and lonely man," mutters that he wishes he could just forget it all, and falls asleep at a table.

Meanwhile, Spock (who has been visibly intense and uncomfortable throughout the whole episode) stays nearby as McCoy enters. Spock gestures at him to stay quiet and McCoy briefly exposits a plot point to Spock, then segues into an unexpectedly vicious, half-smiling monologue about what Kirk's gone through in the episode and how Spock could never understand it:

Considering his opponent's longevity, truly an eternal triangle. You wouldn't understand that, would you, Spock? You see, I feel sorrier for you than I do for him, because you'll never know the things that love can drive a man to. The ecstasies, the miseries, the broken rules, the desperate chances, the glorious failures, the glorious victories. All of these things you'll never know simply because the word love isn't written into your book. Goodnight, Spock.

Spock just endures and politely replies "Goodnight, doctor," but after McCoy leaves, he allows himself to respond. Without so much as a scene break, Spock slowly walks over to the unconscious Kirk, touches his face, and mind-melds with him while he sleeps. And then he wipes Kirk's memory (!!!) of the tragic romance with his rival this girl, murmuring:

Forget.

5— "And the Children Shall Lead" (Season 3)

Context: a simple instance from a weak episode, but also ... damn, it's a lot. A bunch of children under the malign influence of an evil imperialist alien have managed to take over the Enterprise. This isn't the first time something roughly similar has happened, but at this point, Kirk has a full on panic attack as he and Spock leave the bridge and take the turbolift. Kirk clings to Spock as he melts down and Spock unsuccessfully tries to calm him with "Captain," but it only works when he murmurs, "Jim."

Kirk freezes and then immediately calms back down to his usual rational self. Spock is still concerned and Kirk assures him he'll be fine now (and is).

6— "Miri" (Season 1)

McCoy, Janice Rand, Kirk, and Spock are all gathered around trying to figure out the disease of the week, which has infected all of them (though Spock is asymptomatic). Kirk and Spock lock eyes and Spock points out that they can't go back to the ship, including him since he'd be a carrier, and then he adds:

Whatever happens, I can't go back to the ship ... and I do want to go back to the ship, captain.

Kirk smiles slowly and they just stare at each other as if Janice and McCoy had dropped off the face of the planet.

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7— "The Tholian Web" (Season 3)

Context: Kirk is trapped in a different phase of space while a local anomaly is gradually driving the crew of the Enterprise to insane rage. At the same time, the hostile Tholians are threatening the Enterprise with the obvious intent of killing them all within short order, and Kirk's disappearance places Spock in command throughout this triple crisis. Spock refuses to order an escape, instead insisting on the Enterprise remaining in place to keep trying to rescue Kirk, homicidal insanity of the crew be damned, even as the Tholians began attacking.

McCoy urges Spock to prioritize the welfare of the Enterprise and its crew above Kirk, telling him they can't afford to stick around and keep trying. Spock refuses and things predictably get worse.

McCoy confronts him about his priorities:

You should've known what could've happened and done everything in your power to safeguard your crew. That is the mark of a starship captain, like Jim.

Plot events lead everyone, including Spock, to believe that Kirk is dead, and as acting commander, Spock also has to lead the memorial service:

as a result of the battle, we must accept the fact that Captain Kirk is no longer alive. [...] I shall not attempt to voice the quality of respect and admiration which Captain Kirk commanded. Each of you must evaluate the loss in the privacy of your own thoughts.

McCoy continues to lash out at him directly afterwards:

He was a hero in every sense of the word, yet his life was sacrificed for nothing. The one thing that would have given his death meaning is the safety of the Enterprise. Now you've made that impossible, Mr. Spock. [...] I really came here to find out why you stayed and fought. [...] You could have assured yourself of a captaincy by leaving the area. But you chose to stay. Why?

Spock coldly replies:

I need not explain my rationale to you or any other member of this crew.

They snap at each other until they find the recording left for both of them by Kirk in the case of his death. It (hilariously) begins:

Bones, Spock, since you are playing this tape, we will assume that I am dead, that the tactical situation is critical, and both of you are locked in mortal combat.

The message is honestly both wise and heartwarming about how they should respect each other and both have important qualities to offer in a crisis. McCoy immediately feels ashamed of how he's been behaving at such a moment, and tells Spock:

Spock, I, er, I'm sorry. It does hurt, doesn't it?

Spock bleakly replies:

What would you have me say, doctor?

8— "Turnabout Intruder" (Season 3)

Context: in the very peculiar series finale, Kirk's autocratic and vengeful ex-girlfriend uses some kind of machine to take control of his body, leaving him trapped in her body. Spock notices almost immediately that "Kirk" is acting out of character and that "Janice" clearly knows something, so he goes to talk to "her" and Kirk tells him everything. Spock thinks it's possible but there's no certain proof, and Kirk urges him to mind-meld with him:

You are closer to the captain than anyone in the universe. You know his thoughts. What does your telepathic mind tell you now?

Spock melds with him and is promptly convinced.

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Bonus: Spock tries to help Kirk escape shortly thereafter and holds his wrist/hand for a good twenty seconds.

9— "The Paradise Syndrome" (Season 3)

Context: Kirk becomes a carefree amnesiac stranded on a planet of transplanted Indigenous people (it's as bad as it sounds), but there's a much more well-done subplot around Spock commanding the Enterprise in the meanwhile. He stubbornly risks the ship (again) to try and rescue Kirk, but the attempt disastrously fails, leaving the ship with only impulse power. McCoy says in some frustration:

Well, Spock, you took your calculated risk in your calculated Vulcan way, and you lost. You lost for us, you lost for that planet, and you lost for Jim.

Despite his exasperation, McCoy still tries to get Spock to rest. Spock simply ignores him and orders the ship to head towards the planet Kirk is stranded on, still stubbornly set on rescuing him, even though they have no warp capabilities and have to travel entirely by impulse power. When McCoy protests that it'll take months, Spock replies:

Exactly 59.223 days, doctor.

And there's no clever solution around it, either. They do take nearly two months getting to the planet and Spock spends 58 days of the journey fixated on figuring out the puzzle that will allow them to save Kirk. McCoy tries to get him to eat or sleep, since he's done little of either for over 50 days, but Spock refuses to do anything except prepare for rescuing Kirk:

I'm also aware when we arrive at the planet, we'll have barely four hours to effect rescue. I believe those symbols are the key. [...] I am not hungry, doctor. [...] My physical condition is not important, doctor. That obelisk is.

McCoy eventually threatens to call security to force him away from studying the puzzle and make him lie down, so Spock finally goes to bed. As soon as McCoy is gone and out of earshot, Spock just gets back up and returns to contemplating the puzzle until he has a breakthrough.

Then upon beaming down and finding an injured, still-amnesiac Kirk, Spock mind-melds with him to try and repair his memory.

I am Spock. You are James Kirk. Our minds are moving closer. Closer, closer, closer, James Kirk. Closer. [...] Our minds are one. [...] Spock!

Spock breaks the link and falls back, gasping. When McCoy asks what's wrong, Spock just says:

His mind. He is an extremely dynamic individual.

10— "The Enemy Within" (Season 1)

Context: Kirk has been split into two people, representing each half of his personality: one half is noble, intellectual, and restrained, but cautious and indecisive, while the other is strong and bold, but vicious, selfish, and violent. At this point in the episode, Spock et al don't know about the split, so good!Kirk is oblivious and evil!Kirk's bizarre behavior is being attributed to normal Kirk. McCoy sends Spock to the captain's quarters to find out what's wrong with him.

Spock dutifully goes to Kirk's quarters, where he finds good!Kirk relaxing without a shirt on and promptly realizes he's gay loses the ability to put normal sentences together. It's difficult to overstate or even describe the homoeroticism of this scene, so judge for yourself:

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Bonus: after Spock realizes he's dealing with only half of Kirk and has taken up helping him present a good front, he has to keep correcting good!Kirk's weaknesses and tells him that acting like actual Kirk means "You can't afford the luxury of being anything less than perfect."

11— "Errand of Mercy" (Season 1)

Context: Kirk and Spock are trying to pass themselves off as members of a species of ostensibly docile, peaceful people being (ostensibly) colonized by the Klingon Empire. Kirk in particular struggles to keep his head down, and when a Klingon shoves and threatens Spock, Kirk loses his shit and nearly clobbers the Klingon. Spock manages to calm him down and as they walk away, Kirk mutters:

You didn't really think I was going to beat his head in, did you?

Spock replies:

I thought you might.

Kirk says:

You're right.

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12— "Amok Time" (Season 2)

We all know about this one, let's be real. It's difficult to even choose a moment—Spock confiding in Kirk about Vulcan mating practices (Kirk: O_O) and his loathing of the prospect, with Kirk protecting his confidentiality ("I haven't heard a word you've said"), Kirk defending his own choice to implode his career and defy Starfleet (without breaking Spock's confidence) to rush Spock to Vulcan ("I owe him my life a dozen times over. Isn't that worth a career? He's my friend"), Spock telling Kirk he'll undoubtedly find pon farr "distasteful" and Kirk responding "Will I?", Spock begging T'Pau not to let T'Pring choose Kirk as her champion ("I will do what I must [in combat], T'Pau, but not with him! ... In the name of my fathers, forbid. Forbid! T'Pau. I plead with thee! I beg!"), Spock's bleak response to T'Pau's "live long and prosper" after his victory ("I shall do neither. I have killed my captain and my friend"), Spock explaining that his pon farr vanished the moment he thought he'd killed Kirk ("When I thought I had killed the captain, I found I had lost all interest in T'Pring"), McCoy trying to get Spock to admit that his relief at Kirk's survival is illogical and Spock blatantly lying that he is just concerned with the loss of an effective captain, to which Kirk simply responds "Yes, Mr. Spock. I understand" while McCoy splutters ...

But honestly, my favorite is the brief moment of unrestrained emotion when Spock discovers Kirk is still alive and he cries "Jim!" as his whole face lights up and he grabs him. It's one of the only times in TOS that he's in his right mind and yet too overwhelmed to hide what he feels, and it's famous for a reason.

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#honestly there were some other moments i seriously considered and it pained me to exclude but... these are the ones where i was just #OH their reputation preceded them yet somehow managed to understate how unwell they are about each other #anghraine babbles #long post #poll nonsense #star trek #james t kirk #spock #otp: the premise #kirk x spock #c: i object to intellect without discipline #c: who do i have to be #star peace #star trek: the original series

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kettlefire · 11 months ago

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Prepare for the unexpected. (DPxDC)

Everyone knew about the reign of Pariah Dark. Even those who did not dabble in those realms have heard the tale of the tyrant. A power-hungry man who ruled over the dead with an iron fist.

Following the rise of Pariah Dark, his realm had been effectively cut off from communication. Many mystics and magic users knew better than to open the door of nightmares that could arise if Pariah Dark's reach went further than his own realm.

Except, the universe had plans to bring the realm of the dead back into the cards.

A new opponent, one that had all of Earth's heroes scrambling for options. A being with powers of a god over weather, destruction was on the horizon. A world ending threat.

It's the only reason the Justice League was doing this. In a deep bunker, far from close civilization as a precaution, the heroes looked on with grim expressions.

The world was already being threatened. It would be destroyed regardless of what the league did. So it only made sense to make the last ditch effort. To summon someone strong enough to defeat the threat.

No one wanted to do it. No one wanted to be the one to pull the realm of the dead back to the living. The consequences were untold if this succeeded. If Pariah Dark was freed and defeated the threat, whose to say he won't want control?

That was a problem for later. For the aftermath. For now, the league could only watch on with bated breath as Constantine completely the summon ritual.

They watched on as the shadows in the room seemed to darken and grow. As the sigil sputtered to life with a glow that was growing increasingly brighter. A sudden gust of wind rushed through the room, the temperature began to drop with eaching ticking second.

And then it was all gone.

The room stood perfectly still. Just as it had been moments before. Nothing changed. No giant king standing before them, no sign that the ritual worked.

The room stood deadly still for another beat before the murmurs started. The team trying to make sense of the situation, figure out what went wrong.

Constantine swore up and down that this was the correct ritual, taking offense that they would even think the problem was on his end. It only made it better when it finally happened.

A loud sound ripped through the room, pulling everyone's attention back to the summoning circle. Just in time to see a tear appear in the space above the circle.

A thin tear that ran the length of eight feet. The fabric of the dimension seems to curl at the edges, pulling back to reveal a deep glowing swirl of greens. A dark gloved hand reached through, fingers curling around the edge of the tear, stretching it even further.

A portal. The ritual had worked, but there had been a delay. A delay that had every hero nerves on edge. Each team member tensed, weapons at the ready as they watched the being stretch the portal to the right size.

Then, a foot stepped out with a heavy thud. A dark boot that looked otherworldly despite its similarity to mortal clothing. A deep black that seemed never-ending. A second foot quickly followed before a full body emerged from the portal.

Not many people in the room have ever seen Pariah Dark, let alone know what to expect. Based on what Constantine and Zatara had said, this wasn't Pariah Dark.

A man had stepped out of the portal, standing at almost seven feet tall, and built like a brick house. One glance at the glowing white hair, deadly red eyes, and shard teeth was enough to know this being was not to be messed with.

But there was no giant show of armor or royal garbs. There is no large crown at the top of his head or jewelry from the infinite realms laced around his neck.

Instead, the man stood before them in combat boots, worn-in ripped jeans, a graphic t-shirt, and a spiked leather jacket. Despite his almost normal clothing choice, the man's jacket seemed to be a never-ending depth of the dark night sky. If one was to look closely enough, the cosmos could almost be made out in the sea of darkness.

None of that would have prepared them for when the man spoke. His tone sounded more bored than anything as he took a step forward.

"Oh, so now you need the help of the dead." The man had spoken, running a hand through his hair. When Batman took a step forward to speak, the man raised a hand. Immediately commanding silence in the single gesture. "I'm on babysitting duty and have yet to have a cup of coffee. I'll be right back."

Just like that, both the man and portal vanished into thin air. Leaving behind a group of stunned heroes. Not only was the man not Pariah Dark, but he was also supposedly babysitting.

"Did that just-"

The Flash had been the first voice to speak up, his eyes trained on where the man had once stood. Except he had barely made it through the first few words before the man was suddenly back.

The man that now had a child hanging off his shoulders and another teen being held up by his scruff. Unlike the man, these kids looked human.

Too human for Bruce's liking. The dark black hair and bright blue eyes had every heroes eyes flickering to Batman for just the briefest moment.

"This isn't fair! I'm not even the king. Why do I have to be here!" The teenager had been complaining the moment the man had reappeared. Arms crossed tight over his chest and seemingly used to being held dangling. "Besides, who brings kids to a show down! Wait til I tell mom about this."

"Aw, come on, Danny. This is gonna be fun!!" The younger girl seemed in much better spirits than the teen, Danny. She had climbed up the large man, sitting on his shoulders and resting her arms on the mess of glowing hair. "It's like take your kids to work day! Ooo, Dan! Can we fight too!?"

Unlike the two kids, the man looked purely exhausted and annoyed. The man, Dan, dropped Danny like a sack of potatoes as he took a long drink from the travel cup in his hand.

It didn't take a genius to recognize the look of an exhausted parent in Dan's expression. A look many of the league members were well acquainted to. A look that even had Batman grimacing with sympathy.

"Can it, little shits. You two were grounded, remember." Dan had growled at the kids before shifting his focus back on the team of heroes before them. His glowing eyes set in a deadly glare. "Pariah Dark isn't coming, and he never will. He's been dethroned and banished. We're the best you've got."

A summoning that started with a group of on edge and scared heroes looking for the ghost king, ended in a way no one expected.

No one was even sure if it made any sense. They weren't sure if they should feel hopeful or in despair.

Because truly, what was a ghostly man with two seemingly human children against a godlike foe with the control over the weather?

The unspoken question of power and ability seemed to vanish following Dan downing the metal travel cup of coffee, and crushing it in his fist.

He tossed it to the side, straighting up his posture as he looked over the heroes. Dan might not be a hero, but he's been playing family for too long.

An almost feral, bloodhungry grin spread across the man's face, sharp fangs on full display. The look made the man suddenly look even less human. He looked closer to a demon from the pits of hell rather than the exhausted parent he looked just a few seconds ago.

"Point me in the direction of this bastard. It's been too long since I let loose and had some fun."

#danny phantom #danny fenton #phandom #dc x dp #batman #dcxdp #dp x dc #dp x dc au #dp x dc crossover #justice league #I've been toying with the idea of following Pariah Dark's end the zone abolished the idea of a one true king #instead setting up a counsel of the most trusted ghosts and deities with in the zone; including Pandora and Clockwork #I also like to vote for Technus to be on the counsel and Ghostwriter to be like the secretary/note taker #after Ghostwriter stopped being an asshole ofc ofc #I kinda have this list of specific details I've created for this idea and like I keep thinking up new ones #like the Phamily's backstory is somewhat canon complaint with the show but also a whole mess of complex shit #like the expanse of Danny turning into phantom and the events that occurred still did except technically they never did #it's clockwork's time mumbo jumbo type of shit #Ellie had to be deaged some to help stabilize her core so I'm roughly saying she's like 7-8 years old #but idk children so idk how a 7-8 year old actually looks or how they usually act or talk #The JL seriously don't know if they should be hopeful or not but Dan's grin and excitement makes it seem more promising #I like to imagine Bruce is just watching Dan with Ellie and Danny trying to figure out if he's actually a good father or not #people being surprised to find out that Ellie Danny and Dan are all technically orphaned siblings #while Dan is just trying to coparent his siblings with the help of a time god an earth goddess a princess and a dirtbag with a motorcycle #dan phantom #ellie phantom #I can go on and on so I'll force myself to stop now #long post

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v-yun · 6 months ago

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Behold!

A meme:

#i love these two #they're silly your honor #Telemachus #Peisistratus #telestratus #the odyssey #greek mythology #tagamemnon #i've said this before and i'll say it again: telestratus sounds like it could be a layer of the atmosphere aphvzrphdc #seriously tho. i haven't been drawing much lately and haven't posted anything in a long time #and making this piece. as simple as drawing over a meme could be. was really a struggle #I'm not kidding when I say I *suffered* to get this done #I'm quite happy with it tho (all things considered)#i think. or. well. i hope. that it kind of helped me to get back to drawing a bit more #we'll see #memes #my art

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ew-selfish-art · 2 years ago

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DpxDc AU: What’s an adoption paper or two between bros?

Danny is starting to realize that since Jazz left the house for university, his parents aren’t really good at well, being his parents. They’re obsessed with his alter ego to the point that they ignore his normal ego, and that uh, hurts his feelings. Like, a lot. Meal times have gotten weirder and more inconsistent, and he’s starting to wonder if they suspect what’s really going on with him.

They’ve started to say “You know you can tell us anything” these days when he sees them outside their lab (which isn’t frequent) but the normal amount of ghost hate speech hasn’t changed. If anything it’s gotten worse. Just like everything else.

Danny joined the whole-ass justice league to fill his spare time after high school and his parents are literally none the wiser. Like, he's a part time high-school senior at 17 and a full time international hero. His parents only comment on the fact that the menace Phantom is costing them a lot in airline tickets as they try and apprehend him all over the world. Hell, they caught Ellie for a second when he was in Morrocco and it got ugly fast. She's a junior member now but mostly spends her time with some doofus that has a magic traveling house.

And really, he's fine with his schedule of going to school, going ghost and making a difference, and then returning to a dramatically silent house. Really.

Then one day his new friend and co-team lead Red Robin makes a brief mention about his own childhood of neglect and Danny makes a joke, "What, no adoption papers for the homies?"

He laughs as he says it but something in his leader's eyes looks sharp, and Kon is sighing in the background something that sounds suspiciously like dear Rao you've done it now.

Next time Danny is on the Watchtower, he's brought into a meeting with Red Robin, Batman and various other JL team leaders.

"Adoption papers are very much for the homies. I've also included the option of emancipation, as you'll see in the green folder, but I am one hundred percent serious about adopting you."

"Red, you're like, 3 months younger than me." Danny deadpans.

"Adoption is for the homies and I'm emancipated. And If i'm reading Batman correctly, you're facing three outcomes right now."

"Three?"

"One: I adopt you and you become my legal dependent. Two: Batman adopts you and I become your legal brother. or Three: You emancipate yourself while allowing us to provide for you while your housing situation is sorted out."

"... Uh. Door one?" Danny is having too many feelings. Why does batman look disappointed? What is Jazz going to say? What on earth???

"Welcome to the Drake Family." Red shakes his hand up and down, the grin on his face feral and the plan towards being emancipated from the Fentons and adopted by his boss is a weird one.

But eventually, a few weeks later, he's had a pretty delicious dinner by his new adoptive grandfather-tler and is watching a movie with Tim and Kon on the couch and he's just so happy and comfortable and warm...

"Will this make Kon my dad if you two get married?" Danny laughs and it's the closest he gets to being disowned.

#Jazz dating Jason seriously in the background and looking at her bf like 'wait why is my brother now your nephew??' and jason has to explain #his family is just like that #tim adopts danny au #adoption is for the homies #dp x dc #dc x dp #dpxdc #dcxdp #dc crossover #dp crossover #long post #dc x dp fic

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lurkingshan · 2 months ago

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A Brief History of Queer Representation in Modern Kdrama

Earlier this week, totally unrelated to Heesu in Class 2, @twig-tea and I were making a list of kdramas with proper queer representation, because Twig loves to track queer things and I love to make highly specific lists. In light of all the discussion around Heesu and its appeal to a mainstream kdrama audience, we thought it would be helpful to share as context for what Heesu’s creators set out to do, how it compares to Love in the Big City and its goals, and why both shows are so significant for those who are not as familiar with this media landscape. We wrote the below together (strap in, folks, it's a long one).

As always, let us be clear what we are talking about with this list. We’re only looking at modern mainstream kdrama, so this list is not inclusive of Korean queer cinema or QL dramas, both of which have a rich history of their own. And when we say queer representation, we mean canonically queer characters that are acknowledged as such in the text of the show, if not by saying the words, at least by openly acknowledging same sex attraction. If there’s anything we know about queer people on the internet, it’s that our community can read gay subtext into anything, but that’s not what we’re doing here. For this list we are only interested in depictions of LGBTQ+ people that are clear and spelled out for anyone watching a show. In addition, for the purposes of this list we are talking about intentional inclusion of queer characters with a proper role in the story, not nominal nods to queer people existing (like every Hong Seok Cheon cameo in a drama), comedic gender bending without real reckoning with sexuality (ala The King’s Affection), use of queer people as the butt of a joke (glaring at you Vincenzo), queerness in psychosexual dreams to titillate and generate buzz (hiiiii Friendly Rivalry), or subtextual gay tension between two same sex actors who happen to have chemistry (waves hello to The Devil Judge). The point of this exercise is to chart the evolution of significant queer representation in kdrama—both good and bad—not to document every gay character that ever appeared for two seconds on screen. That said, while Shan has watched several hundred kdramas and Twig has tried to watch everything gay on the planet, it’s possible we missed something that should be here, so let us know if you think we did (though please do mind the criteria and don’t send us an impassioned essay about why Beyond Evil should count).

With that, let’s begin our walk through of the last two decades of queer characters in kdrama.

Coffee Prince (2007)

Among the most famous dramas on this list, Coffee Prince kicked off queer rep in modern kdrama with a classic gender bender in which Go Eun Chan, a girl, pretends to be a boy for Reasons. But what made it stand out is that her love interest falls for her while he still thinks she’s a man and has a whole sexual identity crisis and bisexual coming out process. Choi Han Gyul (and Gong Yoo), you will always be famous! This show was sincerely groundbreaking, not only for depicting a male romance lead struggling with his sexuality, but also including lots of gender fuckery for the female lead. It’s still one of the most significant queer kdramas ever made.

Life is Beautiful (2010)

This show is notable for how high it set the bar and how nothing has reached it since. Yang Tae Sub is our central character in this 63-hour ensemble family drama, and his arcs struggling with the closet, falling in love, coming out, commitment, and marriage (yes: marriage! In 2010!), are surprisingly realistic and touching without being too cliche. Kyung Soo and Tae Sub start as a casual hookup, and they have to recalibrate as their feelings change (and yes, they kiss on screen and the show is clear that they have sex throughout the series). They fight, they make up, and as their relationship deepens they have other problems in their lives they support one another through—their gayness is not the only or even the most interesting thing about them. It’s also notable that both of these actors (Song Chang Eui and Lee Sang Woo) were established kdrama stars before taking these roles.

Secret Garden (2010)

This het romance features a side character (played by our beloved Lee Jong Suk) who is a young musical prodigy pursued for his talents by the second lead, a senior musician. Over the course of the story we learn that he’s gay and harboring feelings for his would-be mentor. His plot is minor, but he ends the story happy and successful in his career, if not in a relationship. It’s small scale representation in the grand scheme of things, but one of only a handful of decent depictions of a gay person in kdrama at that point.

Reply 1997 (2012)

This wildly popular drama (at the time, it was one of the highest rated cable dramas in history) that spawned two follow-up iterations features a gay character, Joon Hee, who is in love with his long time best friend, Yoon Jae, and confides his feelings to their other best friend, Shi Won. Of course, this show is ultimately Yoon Jae and Shi Won’s love story, so Joon Hee does not get his happy romance ending, but his friends and the show treat him with kindness and compassion, and his character was well received by audiences.

Reply 1994 (2013)

Similar to its predecessor, this drama featured a side character with a gay subplot, but this time it was more about questioning his identity. Bingguere is a character whose arc is all about his confusion and indecision, and that extended to his sexuality when he struggled to understand his attraction to the male lead. Ultimately, he moves past those feelings and we learn his partner in the future is a woman, and the drama doesn’t really clarify where his sexuality landed. It’s kind of weak in terms of explicit queer rep, but showing a man grappling with his sexuality in a very popular family drama still feels significant.

Seonam Girls High School Investigations (2014)

While most of their content is limited to two episodes of this 14-episode high school drama, Eun Bin and Soo Yeon have, to our knowledge, the first lesbian kiss on Korean television, which earns them a place on this list. They are an established couple struggling with how their relationship is a risk for them (because it can be and is used against them). Their relationship doesn’t survive to the end of the series, but they are treated with compassion and their humanity is underscored by the narrative. They also spark an important conversation among the main characters about whether they should be helped because they’re gay, which was a little better intentioned than it was executed, but the show had the spirit.

Perseverance Goo Hae Ra (2015)

In a show about aspiring musicians forming a group to take a second shot at stardom, Jang Goon (portrayed by solo idol Park Kwang Seon) is one of the core group members with a heartwarming arc about acceptance. His story is about his father coming to terms with him being an idol and being gay. He has a one-sided confession scene that is decently done, and the scene where his father accepts him knowing the truth (after having been outed against his will) is genuinely moving. It was also touching to see the girl who originally crushed on him support him once she found out about his sexuality.

Hogu’s Love (2015)

This drama was considered progressive for its time, as its core plot is about Hogu, a man who decides to support his first love when he finds out she is pregnant with someone else’s child. In addition to that, side character Kang Chul has an arc where he experiences attraction to Hogu and tries to sort out his feelings, considering whether he identifies as gay before ultimately deciding he does not. It’s not the best rep we’ve ever seen, but it was part of an interesting attempt by a drama to explore complicated social and identity issues.

The Lover (2015)

Lee Jun Jae and Takuya (played by Lee Jae Joon who was also in the gay film Night Flight (2014) and Takuya of jpop group CROSS GENE) are roommates in this series about four couples in an apartment building. Their story starts as a comedy, in which Jun Jae and Takuya end up in ship moments that are played off by the narrative as jokes and misunderstandings, but then they catch feelings for real. We see one of the characters struggle with his queer awakening and there is a happy ending. Using the actors’ real names was a choice, and led to some seriously disruptive RPF shipping; but it was refreshing to have an active idol not only play gay but in a romance with a happy ending.

Prison Playbook (2017)

Another ensemble show with a queer side character; Loony, one of the main character Je Hyuk’s cell mates, is notable for his queerness not being used as a joke and not being the core of the character’s arc. Instead, this character struggles with addiction and how that affects his relationship, which is only incidentally gay. His story is moving and well developed, especially considering the size of this cast, but it doesn’t get a ton of screen time.

Romance is a Bonus Book (2019)

The queer rep in this drama is minor but overall positive, as we learn that the male lead Eun Ho’s ex-girlfriend, who he is still friendly with, ended their relationship because she fell in love with a woman. The show presents her as a lovely person who helps the female lead several times and is happy in her lesbian relationship, and we even get to see her with her partner briefly. A small win for sapphic representation in a very popular Netflix drama.

Moment at Eighteen (2019)

Jung Oh Je (RIP Moonbin) is a side character friend of the main lead. His sexuality becomes part of the plot when he is confessed to by a friend of the female lead, and he admits that he has a crush on the second male lead (Ma Hwi Young). While the characters in the show are mixed in their response, it’s clear the story is on the side of treating Oh Je with compassion.

Be Melodramatic (2019)

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This is an ensemble show centered on a group of friends who move in together to support a grieving young woman, Lee Eun Jung, and one of the housemates is her younger brother Lee Hyo Bong, a gay musician with a long-term partner. He is a side character and his most significant plot is about supporting his sister, with his sexuality and relationship part of his characterization rather than an active story thread. It’s a positive depiction and the way his sexuality is presented as just part of who he is felt significant at the time.

Love with Flaws (2019)

Joo Won Suk (RIP Cha in Ha) is one of the FL’s older brothers, and while not the focus of the drama he gets his own fully developed arc, including the mentorship of queer side character Choi Ho Dol. The queer rep in this show covers suicidality, the loneliness of the closet, bullying, solidarity, and fear of parental shame. That makes it sound depressing, but it’s a hopeful story about the character moving out of depression and into self-acceptance, has one of the best scenes depicting gay acceptance from a father in any show, and both Won Suk and Ho Dol have a happy ending (including for their romance).

Itaewon Class (2020)

The first drama on this list to feature a transgender character, Itaewon Class is about a group of social misfits trying to launch a restaurant on a trendy street in Itaewon. Ma Hyun Yi, a transgender woman saving money for her gender affirming surgery, is among the gang. Her story is not a big focus for the drama, but she gets a nice arc about coming into herself and gaining recognition for her talents as a chef, and the other characters always respect her identity. It’s pretty solid representation for a side character.

Sweet Munchies (2020)

This drama tries to tackle the problems of homophobia and appropriating queerness but misses the mark on both. The queer character in this show, Kang Tae Wan, is here to function as a driving force and conscience for the main male lead and female lead; he’s essentially the second lead but never had a chance (though he didn’t know it, since the main lead is pretending to be gay for clout). Tae Wan is a good character, but the narrative doesn’t care much about him or about queer people in general, it’s focused on how heterosexuals experience queerness. Not exactly amazing queer representation, whatever its intentions.

Run On (2020)

This drama features both a gay character and an asexual character, both of whom are written respectfully and get proper coming out scenes. There is also some messiness around one of the main characters appropriating queer identity as a way to avoid the pressures of her patriarchy, and the drama knows she’s wrong for that. This was one of the first instances of a kdrama acknowledging queer people as a regular part of the world around us and not singular oddities, and it was nice to see multiple facets of queer representation in one show.

Mr. Queen (2020)

This gender bender retains its place on the list because the main character (a man who awakens in the body of a Queen during the Joseon dynasty) openly struggles with his gender dysphoria as well as what it means that he’s attracted to a man, and these struggles are present for the bulk of the show. The character also has sex with both men and women while in that body. It’s one of the better representations of gender swap and feels queer, even when the relationship on screen has the guise of heterosexuality.

Mine (2021)

In this drama about ambitious women married to powerful men who struggle to break free from their constraints, one of the main characters reunites with her first love—another woman. The drama follows Jung Seo Hyun as she struggles to acquire the power she needs to live as she wants, and she ultimately achieves her goal, reuniting with her lover at the story’s end. It’s the first kdrama with a lesbian character in a major role who gets her happy romance ending.

Move to Heaven (2021)

Despite only being featured in episode 5, this was a good story that garnered a lot of attention in a popular Netflix drama, so for cultural impact reasons alone it belongs on this list. We start the episode with Jung Soo Hyun’s death, but this is a show about finding closure after death, so for once this death doesn’t feel like bury your gays. This is a compassionate tragedy in which we see how fear held Soo Hyun back from his relationship with Ian Park while he was alive, but his belongings at death indicate he was getting ready to face his fear and move to the US to marry Ian after all. Through the main characters of the show, Ian gets the closure of knowing Soo Hyun loved him.

Nevertheless (2021)

Yoon Sol and Seo Ji Wan have a typical plot for side characters (they’re in the female lead’s friend group) with a friends-to-lovers arc that depicts the fear and frustration when both friends are closeted and uncertain about risking the friendship but reach the point where they can’t pretend anymore. Since they’re both women, this felt pretty radical. They got a good romantic arc and a happy ending, if not a lot of screen time.

Under the Queen’s Umbrella (2022)

In this sageuk, the fourth prince is living a double life, hiding away makeup and women’s clothing that they wear in secret. The character is depicted as trans, but given the setting, explicit language and modern terminology (including altered pronouns) are not used in this side plot. When the prince’s mother finds out, she supports her child to have an artist paint a portrait of their true self, and ultimately, the prince leaves the royal family to go live a more authentic life in isolation in a bittersweet resolution.

A Time Called You (2023)

The queer rep in this drama comes in the form of a brief backstory montage for two gay characters, one of whom (Yeon Jun) is in a coma. We learn that he ended up in this state after getting into a car accident while in the process of confessing to the guy he mutually liked (Tae Ha), who was killed in the accident. From there, Yeon Jun’s body is taken over by a heterosexual character (it’s a whole time loop thing). This entry is mostly notable for featuring a high profile cameo from Rowoon playing Tae Ha, and unfortunately, for being a fairly textbook example of the bury your gays trope. In 2023!

Wedding Impossible (2024)

This disaster of a drama purported to finally feature a gay character in a prominent role that drove the narrative—in a story about Do Han pretending to marry his longtime friend to avoid being forced to marry another woman—but Do Han ended up a minor side character in his own story when the show chose to focus nearly all its attention on his brother’s het romance. Worse, the other characters treated him terribly and the story blamed every problem on his sexuality. This show was straight up homophobic and it was a significant regression for queer depictions in mainstream Korean media.

Bitter Sweet Hell (2024)

image credit @respectthepetty

Choi Doi Hyun (played by Park Jae Chan of Semantic Error) is the closeted son of the main character, struggling with how hiding his secret affects his school life and his relationship with his family. His story ends happily with Jun Ho in the US, which felt like a win after the above history with kdrama, but because his secret being his queerness is hidden for most of the story, we don’t get to see it inform the narrative much except in retrospect.

Squid Game 2 (2024)

The most recent entry on our list features Park Sung Hoon as Hyeon Ju, a transgender woman who enters the life or death game at the center of this drama to earn money to move to Thailand and get gender affirming surgery. While her inclusion wasn't entirely groundbreaking, Hyeon Ju was a well-developed character with a sympathetic backstory who quickly became a fan favorite, notable given Squid Game's popularity and broad international audience.

Bringing Better Queer Stories to Mainstream Drama Audiences

With all that context established, we have been contemplating how queer creators in Korea can reach a wider audience with their stories and ensure queer representation in kdrama is both more common and more authentic. We look to Love in the Big City and Heesu in Class 2 as a start, as we would argue that both shows exist in the gray space between mainstream kdrama and kbl. They both leverage kdrama style and structure to tell queer stories that include, but are not limited to, gay romances. They both had unusual distribution and battled to even get released and in front of an audience, with LITBC rushing its episodes out amidst public protests and Heesu sitting on the shelf for two years before being quietly released on a streaming platform. And they both had goals to reach an audience beyond the usual BL viewers, albeit with wildly different tones and themes in their stories. The BL audience is too niche to effect the social change that queer creators are seeking, and the limited runtime, genre tropes, and laser-focus on romance means it is harder to make wider social and cultural points in a BL story (it doesn’t hit the same when gay characters are treated as human in a story that takes place in the no homophobia BL bubble). And as we’ve seen from this walk through the past, there are real limits to queer representation that is not created by queer people or informed by their lived experiences.

As you can see from reviewing this list, these two shows were the first kdramas in well over a decade (after the only other example, Life Is Beautiful) to center on a gay main character whose journey drove the story, and they were doing this in the context of a media landscape that rarely elevates queer people beyond minor side plots, still regularly fumbles on respectful representation, and in which representation seems to be getting worse. Love in the Big City set out to show a young queer man’s life in all its glorious messiness. Go Young was not an easy character, and the show did not hold back on his flaws or shy away from either the joy or the struggle he found in his sexuality. Heesu is about a younger character and so his struggles are centered around coming of age and first love, but it similarly depicts a beautifully flawed young gay man coming to terms with himself and asks the audience to empathize with and care about him as his loved ones in the story do. Where LITBC uses a unique storytelling structure to draw in the viewer and highlight what makes Young’s life feel different, Heesu roots itself in familiar drama beats and queer-coded side plots in the hopes that the audience will see and be comforted by the familiar in Heesu’s world.

Both of these stories, in their own way, speak to a mainstream audience and ask for queer existence and queer humanity to be acknowledged. And this does not make them problematic as queer works, because they accomplish their goals of speaking to a wider audience while still being true to queer experiences. Given how scant decent queer representation has been in kdramas over the last twenty years (consider the size of the list above against the fact that there are well over 1500 modern kdramas, and so few of the above listed characters are mains or even significant sides in these dramas), more shows like LITBC and Heesu are needed to bridge this gap. We sincerely hope they find the support they need to get made.

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fuckyeahisawthat · 6 months ago

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What is Mage Viktor doing?

So it turns out I do have a take on what's going on with Mage Viktor, why he's messing with timelines in the way he is, and what he hoped to achieve by bringing Jayce to the torment nexus dimension and then sending him back to his own timeline armed with facial hair, trauma, and the ruthless determination to somehow stop his own Viktor.

Of course this is just my own reading; there are many ways you can interpret the reveals of the final episode. But it's become my preferred reading because it makes Mage Viktor come off as absolutely BATSHIT. The apotheosis of all Viktor's best and worst qualities. As he would be.

First we gotta lay out some fundamental principles about how I understand Viktor that will inform this reading.

Viktor was never being controlled by the Hexcore. This deserves its own whole meta, but tl;dr, I think it is directly antithetical to the core themes of the show to think that Viktor wasn't making his own decisions all through s2.

Over and over again in Arcane, we see characters become "monsters" and do monstrous things, and every time the thematic point is that this is still the person you love. When Vi says that her sister is dead because she is Jinx now and when Jayce says "my partner died in this room" THEY ARE BOTH WRONG. The person they love is different now but they're still in there and they can still be reached.

Viktor is transformed by something terrible happening to him (like many characters in the show!) but all his decisions are still his own and to me they seem like perfectly consistent--if extreme--extensions of what we know about him as a character before he gets a Hexcore heart.

So my analysis starts with the premise that Mage Viktor is not trying to free his past self from an outside influence. He's trying to hack his own character traits to make a different version of himself do what he wants.

Viktor is BOTH genuinely altruistic and compassionate AND deeply arrogant. This is such a banger combination and I think turning down the dial on either trait makes Viktor less interesting. I think Mage Viktor has genuine remorse about what he did in his timeline and he is, fundamentally, trying to find a way he could have stopped himself from killing everyone (within certain constraints; we'll get to that). When Jayce is able to show main timeline Herald Viktor his memories of what Viktor is about to do to their world, the first thing Viktor sees is not dead Jayce, or himself left alone in an empty world. It's all the ordinary people who are going to die terrified because of him.

I do not think any version of Viktor wanted this result. But Viktor is so convinced he is always right that his arrogance carries him right past the point of no return before he realizes oh actually I haven't freed everybody I have killed them.

So I do think Mage Viktor is trying to find a timeline where this doesn't happen, but he is not timeline-hopping in order to preemptively stop other versions of himself from making the same mistake. If he wanted to do that, he would just leave all the many many timelines where Jayce dies in a blizzard as a child alone. No Jayce who grows up obsessed with magic, goes around Academy rules to get the hex crystals, invents Hextech and gives Viktor the power to fuck everything up. Easy peasy.

But no. Instead, Viktor is actively going into other timelines and changing them at the point where Jayce would have died.

He is doing things that appear to make the sequence of events that leads to his world-ending magic blast WAY MORE LIKELY. And that's because...

Viktor is obsessively selfish when it comes to Jayce.

Mage Viktor wants to find a timeline where he doesn't doom the world but not at the expense of meeting Jayce and spending years doing science with him.

If the goal was only to prevent Jayce from dying in the blizzard, he could have done it quietly, waiting for Jayce to collapse in the snow and then transporting him to the base of the mountain, leaving before Jayce had any idea who saved him. Instead he makes SUCH A DRAMATIC PRODUCTION of it that Jayce remembers and can repeat the steps of the action years later, well enough that he actually produces a working spell from a barely-tested Hextech prototype. Mage Viktor wants that shit burned into baby Jayce's brain. He wants to make sure he fundamentally alters the arc of Jayce's life, bending it into a trajectory that collides with his own.

Viktor also (as far as we see) doesn't go the route of going back in time and killing his younger self, or steering the course of his own life along a path where he never meets Jayce. He doesn't even go for a timeline where he and Jayce meet each other but they don't invent Hextech. Now maybe it's the case that some time before our Jayce arrives in his timeline, Mage Viktor tried all that, and has figured out that none of those options work. (Maybe in some of those timelines Jayce is the one who goes Machine Herald, and there's no partner there to talk him off the ledge of ending the world.) But I think it's also possible that, now that he's gotten the experience in one timeline of spending years with Jayce making once-in-a-generation scientific breakthroughs together (which I truly believe is just as important a part of their relationship to Viktor as any romantic or sexual element might be)...he can't bear to deny any version of himself the chance of having that--even if the price is the rest of the world. Because a world where Jayce isn't his partner isn't a world worth saving.

So what I think Mage Viktor is doing is sitting there with his stubborn engineer brain and the husk of his dead soulmate, fiddling with the timelines like a Rubik's cube, going Not meeting Jayce CANNOT be the only option. There MUST be a timeline where Jayce and I meet each other and entangle our lives in an alarmingly codependent way AND we dodge the apocalypse at the last minute, I don't end up killing him, and we do not doom the world together. And I'm going to fucking find it.

So he's been hitting timeline after timeline, trying to find the combination of factors where everything works. He is not trying to preemptively save every timeline from himself, he is trying to prove to himself that meeting the love of his life doesn't doom the entire fucking world. It's devotion that is SO PROFOUNDLY SELFISH that he is willing to doom timeline after timeline, but driven by someone with enough compassion and pride that he doesn't want the guilt and shame of knowing he can only have this one life-changing thing if he ruins everything else for everyone, and enough arrogance to still look at this as a problem he must be smart enough to solve.

At some point in this process, I think he also figures out that Jayce is the only person who has any chance of reasoning with any version of himself. I think it's worth paying attention to the exact wording of his "in all timelines, in all possibilities" speech, because it's not just a love confession (although it is that).

"I thought I could bring an end to the world's suffering. But when every equation was solved, all that remained were fields of dreamless solitude. There is no prize to perfection. Only an end to pursuit. In all timelines, in all possibilities, only you can show me this."

And while this is some hella romantic cosmic soulmate level shit, it is also Viktor saying I need you, because you are the only person I have ever trusted enough to save me from myself.

It's the Hexcore promise all over again. Viktor knew he couldn't destroy his own creation. I read this not as Viktor being physically unable to destroy it because the Hexcore had some power over him, but not having the will to destroy it. Because this huge leap in Hextech technology was his big breakthrough and not (as I think he saw it) him supporting Jayce's dream. He knew he couldn't do it. So he asked Jayce to do it for him. Please, save me from my own pride, my desire to leave a legacy. I can't do it on my own.

It's a huge extension of trust, for Viktor to admit such a need. And now he's doing it again when the stakes are MUCH MUCH higher. I need you, because you are the only person who can show me the horror of what I am about to do and have me believe it.

Of course, the deep irony is that really the only person Viktor trusts to tell him he is wrong is HIMSELF FROM THE FUTURE. Astral plane Machine Herald Viktor is standing right behind Jayce, watching Jayce's memory of Mage Viktor telling him what the consequences of his actions will be, and that is the moment the horror sinks in and cracks him fully out of his machine shell.

But of course Jayce is the only person he would ever trust enough to carry such a message (from himself!!) to somewhere close enough to reach him.

It's not clear exactly how much of a detailed plan Mage Viktor has when he sends Jayce back to the main timeline, or how much of that plan he shares with Jayce. But I think he has figured out some broad strokes which affect how Jayce behaves.

(1) Jayce has to immediately go and kill commune Viktor. Squishing Salo is maybe a bonus side quest, but Jayce doesn't even take time to fucking shower before he heads for the commune. (I would love to see the part of the conversation where Mage Viktor is like yeah you know that pit you just climbed out of? Yeah the first thing you gotta do is go right back in there, all the way to the bottom, and find me looking like ethereal cyborg Jesus and blast a fucking hole through my chest.) Maybe this is because if Jayce waits around at all, commune Viktor finds a way to get to him and he folds and joins the cult. Maybe this is because there are just fewer variables involved in forcing Viktor to speedrun his own villain arc by Jayce repeatedly turning him down in one "perfect" form after another. Maybe Mage Viktor knows himself well enough to realize "yeah if you say no to me even ONE TIME but ESPECIALLY when you are HOT and SUFFERING I will go fucking apeshit and we can use that to our advantage."

(2) I think Mage Viktor has realized that he can only be stopped at the very very VERY last minute. He has to be able to see the direct line between what he is about to do right now and the arcane-blasted hell world he's about to create. Otherwise his ego will get in the way and tell him he is smart enough to figure out a way to somehow not kill everybody. Yeah Mage Viktor fucked that one up obviously, but I, main timeline Viktor, will be smart enough and well-intentioned enough when the time comes to simply not do that. I think this is why, for example, Jayce doesn't go to the commune trying to get Viktor to see the error of his ways. It won't work until it is allllmost too late.

Main timeline Viktor stops literally seconds before the point of no return. The arcane corruption spikes that we see everywhere in Mage Viktor's world are already starting to appear.

I think Mage Viktor knows that Jayce has to let him get right up to the edge, close enough to be looking over into the abyss, before he'll be able to pull him back.

But he knows Jayce can do that. That's what they do for each other, right?

This is why I think it was always the plan for Jayce to fight him all the way to the top of the Hexgate, and then surrender. Jayce has to survive until the end of the fight, and maybe for magical physics reasons he has to wait until Viktor sends the anomaly into the sky above the Hexgate. But once they get to the top of the Hexgate tower he stops trying to fight Viktor altogether. Maybe Mage Viktor told him exactly when it had to happen or maybe he just realizes this is the exact same place where he died in Mage Viktor's world; this is his last chance. But in any case, Jayce lands on the top of the Hexgate on his knees and he doesn't try to get up.

He waits, and when he senses Viktor behind him he doesn't try to fight or run away.

I think he knows, either because Mage Viktor told him or through his own intuition, that he has to let Viktor pull him into the astral plane if he wants a chance at reaching him.

How exactly he was going to get through to him and/or get close enough to share the memories before Viktor assimilated him...ehhhh I don't know if either of them had that figured out. The "you were never broken" part of Jayce's speech, while important from a character perspective...very crucially DOES NOT WORK. IT DOES NOT WORK AT ALL. Viktor is assimilating Jayce the whole time. You can see Jayce's astral body changing from the unique version that's still him (like his hands on the left, when he first enters the astral plane--which still look more or less human even though Viktor has already erased "imperfections" like the scrapes and cuts from his time in the pit and the arcane corruption that's spreading up and down his arm from where the rune is embedded) into a featureless gold blob like the other assimilated people.

You can watch the gold light creeping up his body steadily during those lines until it reaches his eyes.

The ONLY thing that stops this timeline from ending the same way Mage Viktor's does...is EKKO.

I think you can make the case that Mage Viktor sent Ekko to the no-Hextech timeline intentionally. But it is such a complex chain of causality for Ekko to get to the point where he's chucking a time machine at Herald Viktor's face that there is no way anyone--even a remorseful demigod with lots of time on his hands--could control every possible factor.

However elaborate Mage Viktor's plan was, and however determined Jayce was to keep his promise to him, it all would have failed if not for factors outside their control and random fucking chance.

Arcane is FULL of near-misses and what-could-have-beens and characters who are trying their best to do something getting knocked off course by consequences they never could have foreseen. Season 2 in particular introduces a persistent thread of chaos and the sense that even events that have understandable root causes are now spiraling out of characters' control. So it feels fitting that such a moment factors into the show's ending.

This is Jayce right before Ekko blasts through spacetime right above Viktor's head.

Yeah that guy was cooked.

The only thing that stops Jayce from being assimilated is Ekko breaking time to throw the Z drive at Viktor's face.

Which startles Viktor enough that he takes his hand off Jayce's head in the physical realm (ETA at first I thought it looked like he did, but upon closer rewatch I don't think their physical connection ever breaks; the assimilation link in the astral plane does though), and also breaks a piece of his machine mask off in the astral realm.

As he always does when one of his "perfect" bodies gets damaged, Viktor withdraws and tried to hide, enough that he lets go of the assimilation connection with Jayce.

Jayce starts to regain his own identity/autonomy.

And he gets a do-over. Exactly the same way Ekko used the Z drive to get a do-over with Jinx when he was trying to talk her out of suicide. Jayce gets another chance, and that's when he goes for "all I want is my partner back" and "because I promised you." Which works.

Mage Viktor's plan, I think, was for Jayce to help main timeline Viktor realize what he was doing before it was too late, and then give him the runestone, which allows him to release all the minds/souls that are connected to him before this becomes some runaway chain reaction of arcane power that swallows everything around him. (How the runestone does this exactly, and how the anomalies play into it, is stuff I am still thinking about. But tbh I am less concerned with the details of made-up magic physics than I am with the character beats.) Mage Viktor had accepted that main timeline Viktor was probably going to die in this process and he'd made peace with it. That's what "should" have happened anyway, if Viktor never found a way to forestall his illness, right? As long as this Viktor got to spend the best years of his life with his Jayce, it was okay.

I don't think Mage Viktor ever expected Jayce to stay there until the end. His goal was to save the world and spare Jayce from himself. And why would he plan otherwise? We know why Jayce stays, but Mage Viktor never got that part of the story. He schlorped up his own Jayce's consciousness with everyone else and maybe he only understood the depths of what Jayce felt for him in the moment that he was killing him. And main timeline Viktor certainly does not expect Jayce to stay. He's shocked when he realizes Jayce has no intention of leaving. No, that wasn't part of any master plan. That part was all Jayce.

#arcane #character analysis #viktor arcane #jayce talis #ekko #mage viktor #wizard viktor #arcane meta #jayvik #long post #seriously jesus fuck SO fucking long #i hit the image limit for the first time ever i think

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madrone33 · 10 months ago

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Number 1 Rule of adapting the Odyssey into EPIC is: if it can be more dramatic, it will be more dramatic.

The Greeks decide to throw the infant Trojan prince from the walls because they're scared he'll try to avenge his family? No, Zeus comes down to personally give Odysseus a vision of being killed and says his family WILL die. Kill the baby that reminds you of your son right now, it's the gods will.

Odysseus goes to greet the inhabitants of an island and gets trapped in a cave for two days by the cyclops that's eating his men one by one? Nope, we got BOSS BATTLE 30v1 in the Ithacans' favour until BAM fourteen pancakes are made by Polyphemus' club and oh shit Polites is DEAD-

Athena is just vaugely absent for the whole journey until the end? We got emotionally charged platonic breakups instead, with yelling and insults and "well I'm breaking up with you FIRST!"

Smooth sailing to Ithaca? STOOOORM-

Odysseus' great-great-great-grandfather giving him a speed boost to help him on his way home? Get ready for trickster wind gods, mischievous winions, and a game that was rigged from the start.

Random-ass suspicious and greedy crew mates open the bag? It's Eurylochus, his second in command, his brother-in-law, the man he trusted, Eurylochus WHYYY

Parking in the wrong harbour and getting boulders thrown at the fleet by angry man-eating giants while Odysseus backs away veeery slowly? Nah Poseidon himself pulls up to dunk on them, and Odysseus has to make a last minute getaway using the power of STOOORM to avoid being curbstomped like his fleet.

Odysseus gets some stronger drugs from a god to make him immune to the other drugs of a goddess? Well these drugs actually give him magic powers which he uses to engage in a Pokémon/Yu-Gi-Oh style BOSS BATTLE!

Get some closure with dead loved ones and acquaintances, and be the first interviewer of the fallen heroes of past ages? Nope, we just got TRAUMA and a whole boatload of guilt!

A neat outline of what the rest of the journey will look like, a warning against an island of cows that will slow him down, and the way to appease Poseidon? This Tiresias just says "Y'know there used to be a world where you made it home, BUT I DON'T SEE IT NO MORE. IT'S GONE. IT'S OVER. Also, your palace is fucked."

Sailing past the sirens while getting to be the first mortal to hear their song and live? M U R D E R

Sailing past Scylla to avoid Charybdis and accidentally getting six men eaten because he thought he could totally take Scylla, even though Circe said he couldn't, and then he realised he, in fact, cannot take Scylla? ... Eurylochus, light up six torches.

Eurylochus waits till Odysseus is out hunting and then goes behind his back to mutinously rally the crew and feast on some sacred cattle? Betrayal on both sides, stabby stab, K.O., and then Odysseus helplessly watches them make the greatest mistake of their lives as they ignore his pleas.

Quick clean and easy lightning-strike to the ship, leaving Odysseus to cling to some driftwood and paddle away? Zeus himself appears to the mortals, monologues, makes Odysseus be the one to choose, and then smites the whole ship leaving Odysseus to nearly drown anyway.

Telemachus gets advice from a disguised Athena to yell at the suitors and then sail away to look for news of his missing father? Telemachus gets into a full on beatdown with the suitors and gets FIGHT CLUB TRAINING from Athena!

Athena goes "dad I want my favourite mortal back? Did you forget about him? I think you forgot about him" and Zeus instantly replies "nonsense. How could I have forgotten that funny little mortal? Of course you can have him back my sweet favoured child <3" and then Athena skips off to Ithaca? "Father please-" "LIGHTNING BOLT! ANOTHER LIGHTNING BOLT! LIGHTNING BOLT TO THE FACE HOW DARE YOU ASK ME OF SUCH A THING!"

Poseidon does a double take "wait they let him go?? Oh hell nah!" and then sends a giant fuck off storm for Odysseus to swim through until he reaches the Phaeacians? No, Poseidon's just been there on Ithaca's shores, waiting for eight years, now get in the water BITCH- except Odysseus is just like "oh yeah? Fucking FIGHT ME"

You thought the suitors in the Odyssey were bad? Jorge really just said "dial that shit up to ELEVEN"

#the odyssey #epic the musical #funny #literally any chance Jorge gets he adds a boss battle XD #long post #my posts #don't take this seriously #tw swearing #Edit: typos

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