#mel meta

[moonsdancer]

mel medarda, the goddess that you are

(the sheer awesomeness of her design and characterisation never ceases to amaze me, there's just so much to explore and excavate with her 😍)

“Mel turned out to be among Arcane’s most complex creations, one who keeps revealing different layers and ends up in a very different place than the one where she started.”

source 1, 2

[letmyrighthandbeforgotten]

My comprehensive Mel Medarda analysis.

I think it’s easy to separate people who talk about Mel into three groups: people who ship jayvik and hate Mel, people who ship jayvik and “like” Mel in a way that simplifies her almost past recognition, and people who hate jayvik and love Mel (sometimes while simplifying her). And I am someone who loves jayvik and Mel, but I definitely do not ship Jay/Mel, or Jay/Mel/Vik. And I think there’s a dearth of good Mel meta. 

I have three main points: 1) All of the main cast are an antagonist to another member of that same cast. If you don't acknowledge that, then you're not really engaging with the show, you're writing an au in your head. Which you can do! I love au's where all the characters are friends. But that's not the show. 2) Mel IS a corrupt politician who uses manipulation as a tactic; she is also an empath and someone who cares deeply. I do not think these are unrelated facets of her character, but actually deeply related to each other, integral to who she is, and directly resulting from how she was raised. 3) Mel and Jayce are not a good couple, and that makes both of them more interesting.

A/N: And before anyone tries to play identity politics with me, I am a queer, utterly broke woman of color! Mel and Viktor are both dear to me! They are not in competition for my affection! 

Mel the Politician: 

I think of Mel as someone who WANTS to be good but was never taught how, so her initial attempts at goodness fail. Manipulation seems to her a good middle ground from the violence she was raised in. She does not see it as a different, but still horrific type of violence because she was immersed in so much overt violence growing up. 

Mel is introduced in episode 2, which focuses more evenly on the Piltover cast whereas episode 1 focused entirely on establishing the Zaunite characters with Piltover as a villain. Mel stands in direct contrast to them. And make no mistake — from Zaun's perspective, Mel IS an antagonist. Episode 1 shows us enforcers murdering Zaunites on the bridge and Vi openly saying that no one in Piltover is going hungry, in direct contrast to the undercity. With that context, let's look at Mel's introduction.

Mel is introduced to us as the epitome of the Piltover elite. In her opening scene, she stands in a huge room, presumably an office or similar, having a private meeting with a merchant there to sell her something. She almost entirely ignores the merchant in favor of speaking to her assistant Elora, who outright states Mel is the richest woman in Piltover. Mel immediately bemoans the fact that she is still the poorest Medarda. Remember: this scene does not exist in a vacuum. Mel is standing in a room larger than the one shared by Vander’s 4 children, and still complaining that she doesn’t have enough. I think that we the audience are meant to go "is she for real right now?" The sun shines on Mel, and the undercity is covered in smog. 

In retrospect, this scene also introduces Mel's conflict with her family and identity as a Medarda. But again, in retrospect. We don't have that context at the moment. Mel does not exist independently of the Zaunite characters, though she might think she does at first; they are all tightly woven together. Mel is not introduced as cruel — and I don’t think she is cruel on a personal level — but she is introduced as the exact type of person who directly benefits from the oppression of the undercity. This is not by accident. Mel is that person. And she does not need to be intentionally cruel for her actions to have cruel effects.

Some people want to hate the council without acknowledging that Mel is one of them. That is willful ignorance and erasure.

(also look how stupid they all look. why are they posing. Mel is the only one who kind of looks cool, the rest are just funny.) 

Mel is not just a part of the council, she is their de-facto leader after Heimerdinger (gonna expand on this later). She is the one who first addresses Marcus and Grayson directly in this scene. The kind of violence Mel and the council inflict is the kind of silent violence oppressed communities experience every day: Sending enforcers to do their dirty work. Restricting commerce, and therefore inflicting poverty on an already impoverished community. Raiding and searching everyone in Zaun, regardless of if you have any reason to think they’re connected to what actually happened. While characters like Jinx, Vi, Sevika, and Silco are directly, physically violent, this is the kind of insidious violence that is accepted as the norm. To draw a comparison from our world, why does the world care when the head of a health insurance company is murdered, but not when that company denies healthcare and lets people die every day? When our healthcare system sends people into debt for daring to live? Why do we care when violence is done with a gun, but not a pen? They are wealthy, they have power, therefore it is accepted that they have the right to benefit from other’s suffering. 

This is obviously an incomplete view of Mel … but it’s not inaccurate. Anyone from Zaun in universe would have reason to hate her.

I would argue that this is the Mel we see from episodes 1-7. Someone who is beautiful, charming, sounds nice enough, but ultimately self-interested and who benefits from the suffering of others without a thought. 

But then episode 8 feeds us. Let's talk about her flashback scene.

Mel’s Relationship to Power and Goodness: 

This scene haunts me. I love this whole scene so much. This is where we are introduced to Ambessa. And oh, what an impression it is. 

Suddenly, a lot about Mel clicks into place. We see past her mask of perfection and realize she is still a child with a mother who is violent and loves her dearly.  Who says her violence is for her family. Done in Mel’s name, no matter how much she does not want it.

They stand in a destroyed throne room that belonged to someone Ambessa conquered. Ambessa characterizes herself as a wolf and Mel as a fox. We immediately know what Ambessa was like and how Mel was raised. Ambessa is brutal and merciless; Mel uses guile and trickery. Ambessa crushed the throne; Mel talks about what sort of puppet leader they should install to control. But to her mother, it is not enough for Mel to be a good politician. She needs to be without mercy. Brutal. This is the kind of violence Mel understands, the kind she was raised in. And it is what she abhors. 

Then Ambessa asks Mel what they should do with this girl. A living symbol of a power that Ambessa has conquered, a member of the old regime, and as young as Mel herself. Ambessa plans to kill her; that much is clear. But what Mel suggests is also cruel. Stripped of her lands and titles, banished from her home, her family and people dead. That's horrible! That's a horrible way to live! 

And Ambessa doesn’t even let her have that. No wonder Mel doesn’t recognize her own actions as cruelty when this was the alternative she was shown. She does not know kindness. She only knows violence or political games. She was taught to seize power and hold onto it. There is no other option. Not that she knows. 

(This girl’s name is Mion by the way. Look at how she looks down and away from Ambessa, versus how she looks at Mel with hope 🥺) (And if I say that this is the character I ship with Mel. That I have a whole canon divergent au in my head where she lived and grew up alongside Mel, developing a deeply unhealthy, uneven, and codependent but ultimately loving relationship. What then.) 

I love that this moment haunts her. It's not just a flashback for the audience, Mel is actively having a nightmare about it years later. She paints the girl's bloodied necklace. She's one of the forms LeBlanc takes to speak to her, and it's her necklace that Mel uses as a power conduit in her final confrontation with Ambessa. She carries this moment with her for over a decade. It’s when she loses her mother and when Ambessa loses her daughter. This is Mel’s loss of innocence.

With this in mind, it’s suddenly clear why Mel is the way she is as an adult. The council casts Jinx and Silco as violent, but utterly fails to comprehend that violence is not inherent to them. It is directly because of Piltover's treatment of them. Neither Jinx nor Silco start out as cruel people. They were created, not born. But while other members of the council are either willfully ignorant (Heimerdinger) or casually cruel because they genuinely don’t view the Zaunites as actual people, Mel seems to not realize her own cruelty. She does not mean to be cruel. I don’t think she wants to be. I think that she believes this is genuinely the best option that still lets her hold power. And power is everything. Power is how you make sure no one hurts you the way Ambessa has hurt others. But foxes and wolves are both predators, no matter how they kill you. 

So what changes? 

I’ve only accelerated a process that you started. Mel says she wanted to protect the city. I believe her. She believes herself. But what parts of the city? Certainly not the undercity, who have no access to Hextech despite Jayce and Viktor’s own desires. Not the people for whom violence, disease, and starvation are just a part of life. Mel has tried to be good; Mel has failed. Now her own mother bluntly tells her that Mel is the one who started this; Ambessa only intends to finish it. 

This is the scene where Ambessa tells Mel why she was sent away: she weakened her. Ambessa couldn’t make the necessary decisions (note how she says it; necessary decisions, not hard ones) and look Mel in the eye. Everything Ambessa did was out of love … 

And look what she did. 

I believe that this scene with Ambessa is Mel’s “my god, what have I done” moment. Maybe she had good intentions; so did her mother, in her own way. Intention hardly matters when these are the results. It is after this moment that Mel votes for Zaun’s independence. That she works with Lest. Mel finally starts to see the harm she has done, and she decides that she must undo it. Mel has failed … but she will keep trying until she gets it right.

Mel’s relationship with Jayce (and Viktor): 

This is the controversial part of my analysis. But what can you do? 

Here’s the thing: I think that most of Mel and Jayce’s interactions are knee-deep at best. They like each other on the surface, but they do not deeply understand each other. And once they do, they realize that they do not match. They are not meant to be. 

To me, Mel and Jayce are fundamentally different. That’s fine. You want characters to be different, you want that push and pull. But Mel is a politician, a power player. The person who looks at the pieces on the board and tries to maximize her own influence. (And to be clear: Mel is allowed to want power. That is a good and fine trait for a character to have. It creates conflict for her character and we see her use that power for good in season 2 before she is unceremoniously yanked off screen.) Jayce is an inventor. A dreamer. He wants to change the world. Not for his own sake, not for power, but because he just wants to make things better for everyone. Oh, he also wants recognition. Who wouldn’t? But he wants it to come as a result of the good he does. And he has an obsession with magic, but because that magic saves him. 

Let’s look at the scene where Jayce becomes a councilor. 

He’s stressed, he’s breathing heavily, he’s looking around like he desperately wants someone to put a stop to this. The camera spins, like Jayce is getting dizzy. His expression … he looks hunted. Viktor is the only one who notices his distress, but is powerless to stop it. Mel might not be a wolf yet, but she is a powerhouse, steamrolling over everyone else. After all, she knows what’s best, right? OBVIOUSLY Jayce wants this life, he just doesn’t know it yet. This is as close to goodness as she knows, and Jayce wants to do good, right? Doesn’t everyone want that kind of power? (Mel, you break my heart)

But Mel cannot understand Jayce at this point because she doesn’t fully understand herself (see everything with Ambessa). It's only after the two are separately isolated and forced to self-reflect that they actually understand each other … and it is as their whole selves that they realize they do not fit together. Season 1 Jayce/Mel could work BECAUSE they are not yet who they are meant to be, instead bowing to the expectations of others and themselves. The golden children of Piltover, they look good together, they are expected to be together … but they are not meant to be. 

I think Mel IS subtly manipulative of Jayce in the same way she is for everyone else on the council and in high society. But Jayce rarely gives her any pushback, and she looks genuinely shocked when he does (ex. after he talks to Ambessa in the bathhouse and Jayce decides direct confrontation is the next move). I think Jayce trusted that Mel was the best at what she did — which she is — but he failed to consider that he did not want to be the same as her. Like Viktor says, "In the pursuit of great, we failed to do good." Mel could make him great, but she could not make him good. Jayce is not meant to be a leader and is poorly cast in that role. Mel could never be a mere supporter of the world, she belongs as a power player. They are perpendicular lines — intersecting but moving in different directions. 

(Side note: It's so funny to me that Mel calls Jayce the de-facto head of the council when that could not more obviously be her! And she knows it! She is the one who changes Hoskel's votes with a single glance. She is the one who decides to add Jayce to the council and convinces everyone else. Jayce proposes kicking Heimerdinger out, but I do not think all of the council would have agreed if Mel was not the first to voice her support. Probably none of them would have. If the council actually has a leader after Heimerdinger (who's been here 200 years), it IS Mel. But Jayce makes a useful figurehead for Mel to work more subtly.) 

Jayce and Mel like each other well enough. At least, they like the versions of each other that they see. But Mel is so used to wearing a mask that she doesn’t even realize that’s what he’s seeing. She is so used to other people’s masks that she can’t see Jayce’s heart even as it’s plain on his sleeve. And being a councilor brings out the absolute worst in Jayce. If anything he needs to become a councilor so that he can realize the extent of his own prejudice and change. But it is not who he wants to be, nor who he should be. I think that Jayce, after everything he sees and does and goes through, could be happy living in a cabin by a stream with his love and 4 kids. Mel could never be satisfied by that kind of life.

While we're here, let's talk about her and Viktor. (Yes I am a jayvik shipper but this is about Mel.) Even with no context, the two are practically designed to contrast each other. Mel is from Noxus, Viktor is from Zaun (interestingly, both are cultures with a lot of violence, but Noxus is a conqueror, Zaun the oppressed). Mel is rich, Viktor is poor. Mel is a politician, Viktor is an inventor. Mel is a black woman, Viktor is a white man. Mel is able bodied, Viktor is disabled. Mel is born with magic, Viktor is an inventor of artificial magic. They're both outsiders to Piltover, but Mel is accepted and Viktor is not. They stand in direct contrast to each other through the show and represent two extremes Jayce must choose between. Mel is power and politics; Viktor is science and idealism. Both are valid. Both are interesting. But only one aligns with Jayce.

Two similarities between them that aren’t brought up often (if at all): They both have childhood flashbacks where an adult parent figure brutally harms an innocent they identify with in front of them (Singed to Rio, and Ambessa to Mion). They both see their bodies as things that betray them — Viktor through his disability and later corruption by the Hexcore, Mel by the magic blood that runs through her veins. These are both complex, emotional, and deeply interesting characters and I get why Jayce wants them both. This is the bisexual representation we need. 

Let’s take this scene as a microcosm of their season 1 relationship. Viktor is putting a lot on the line. He is helping Jayce break into Heimerdinger’s lab to illegally use equipment that has been confiscated from him after a building blew up. Viktor stands to lose everything if helping Jayce does not work out; his position as Heimerdinger’s assistant, the scraps of power he’s managed to claw out of Piltover. He stands to gain a lot if it works out, granted. He says that he doesn’t want to be an assistant forever. But he believes Jayce is worth the risk. He understands hextech, understands the science and magic behind it. Jayce and Viktor share a vision. 

Mel stands to lose nothing. Even visually, Jayce and Viktor are in this together. Mel stands alone. She is in this as long as she stands to benefit. Jayce and Viktor are in the sky together; Mel is firmly planted on the ground. 

Okay, typing it out like that seems harsh, but it’s only to contrast the characters and their relationship with Jayce. Mel doesn’t NEED to do anything for Jayce at this point. She does not know him! He is just some guy! She also does not have the same understanding of hextech that Viktor does; that is not her area of expertise. She is very good at people and politics; he is very good at science and invention. She’s kind of just hoping Jayce pulls through. But it shows how Viktor and Jayce immediately have a deep and connected relationship, while Mel and Jayce’s early relationship is focused on being mutually beneficial. 

However, even after the timeskip, Mel wants the golden boy; she and Elora say as much. But that person isn’t real. And Jayce is not the man on the poster. They seem to barely know each other better than they did in episode 3. 

I don’t think that Jayce and Mel not matching is some huge moral failing on either of them, by the way. Mel does not need to be better for Jayce. Jayce does not have to change for her. Jayce and Mel’s relationship is one of misunderstanding. They just don’t quite fit, and that makes both them and the world more interesting. 

I also can't get behind mel/jay/vik as a ship. Mel and Viktor knew each other for 6-7 years and they still don’t like each other. I think Viktor just on principle would hate any politician, never mind one actively perpetuating the oppression of his people. I get it because I love them both too, but sometimes the characters we like don't like each other! They're not even toxic in a fun way they just don't vibe with each other 😭 I'm chill with the mel/jay/vik enjoyers, but I could never be one myself. (someone said they ship Jayce with Mel and Viktor in the way of divorced parents splitting custody; I can support that) 

What I think could have been done better:

This is to say that Mel's season 2 arc should have focused on her political development, leaving magic for a season 3 (that still had political elements). (Also in my ideal season 2 ending Piltover just gets fucking BRUTALIZED, forcing them down to the level of the Zaunites, struggling for survival instead of victory. But they were not gonna write that, lol) I think a season 2 ending where Mel is kidnapped by the Black Rose BECAUSE she's going too far off-course from where they want her would be good.

Talking about season 2 is ... difficult. Because I do like it. I enjoy watching, the writers and voice actors and artists are all performing beautifully. But I think the show they wanted NEEDED a third season, and only having 2 meant they had to severely compress everyone’s character development. It’s like someone listed all the plot points they wanted, then crossed out everything they could to make it fit. It broadly makes sense, but you can tell a lot is missing. Mel, Jayce, Ekko, and Viktor are all yanked off-screen for long periods of time. A lot is implied, and a lot isn't as deep as you want it to be. Season 1 is tightly written, season 2 is loose. It comes together as well as it can while keeping the original endpoint for the characters rather than changing them to fit in a single season.

But I am very happy that Mel’s story is not over. 

Conclusion:

Anyway, I want Mel to have a lesbian enemies to lovers story arc in the Noxus show. I want her to meet a power player character who can keep up with her. Similarly to how I see Jayce and Viktor as the same character type (inventors) who are different in every other way and THAT'S why they work, I want her to meet someone who is her equal and peer but still so different from her. I want that mutual fascination, that clash and collide, and for her to fall head over heels. I want her and this new character to manipulate each other, hurt each other, and understand each other like no one else can (I like when gay people are toxic in a cool and interesting way). That is my wishlist.

So when I make funny ha ha posts about Mel, I am NOT doing that as someone who wants her out of the way of jayvik, nor as someone who thinks she did nothing wrong!!!! I am a Mel understander and I will die one!!!

[moonsdancer]

formative experiences, jayce & mel

it endlessly fascinates me how these two are formed and the stark difference between the experiences that set them on their respective paths. jayce's foremost formative experience, the one that sets him onto the road to leading a hextech revolution, is one of inspiration, of being opened to the wondrous possibilities and power of magic and a world that can be shaped and lives that can be saved from certain death by magic if only someone could unlock its mysteries, tap into that power and use it for good. mel by contrast, the moment that shapes the woman who wants more than anything to eschew war and its gruesome realities, is one of pure horror, fear, powerlessness and trauma. one is informed by the dreams of unlimited possibility and inspiration and finding ways to access power to achieve those dreams and always to help. the other by the nightmares of just how terrifying and small the world is when it's down to a steel blade on someone's neck, how easily a life can be taken, how pretty words and pretty dreams mean very little in the face of brutal violence and someone with the will to enact it, how by standing and watching, however helpless, one can be or feel just as complicit as the one committing the violence.

they both hold onto these experiences like talismans, jayce in the bracelet that he touches whenever he's anxious or nervous as if to remind him of his purpose, of his reason for being. mel memorialises it in a painting that she hangs above her bed, the last thing she sees before she sleeps, the first thing she'll see when she gets out of bed so she never, ever forgets.

both of them are forced to confront the limitations of where these formative moments lead them, the failures of the assumptions and decisions they've made to get there. and the story doesn't ever shy away from this, which is refreshing. they're imperfect, they fail, they fucked up but they keep striving to do better. and it's one of my favourite things.

[moonsdancer]

oh, mother, where art thou

I have a lot feelings about these two and their relationships with their mothers, and what those, in turn say about them, so I thought I'd bang on about it.

flashbacks

We see Jayce and Ximena caught in this perilous situation and they're holding on to each other, doing everything possible to protect and care for each other even in the face of certain death. Jayce is just a kid, near buckling under his mom's weight, and it's the prospect of losing her that drives him to beg and plead for the stranger’s help. And he succeeds, by some miracle of magic, he succeeds, and this experience sets him on his Life's path. Also note, Ximena is doing her best to protect her son, even as she's succumbing to frostbite and worse. By contrast, we first find Mel alone. Walking through a newly conquered keep, horrified, a little shell-shocked, alone. In every moment of that scene, she's wary, and it only heightens once Ambessa shows up. Mel tries to say the right things in hope to gain her mother's approval even as she’s wrestling with what she believes is right and wrong. Ambessa tests her. And she fails. She falls short, and that “lesson” haunts her for the rest of her life. Rather than being a source of safety, love and care, Ambessa remains in the shadows, a threat, Death personified, a larger-than-life nightmare-figure.

betrayal

We see both Mel and Jayce grapple with feelings of ~betrayal by their mothers. In parallel, Ximena and Ambessa’s actions or the impact of them in the moment could be read as kind of similar. But they’re not, as we know. Ximena makes that case before the council to save Jayce from certain banishment but in so doing invalidates his life’s work, and even though her rationale makes sense and it’s the best way she knows how to manoeuvre the system to save her son, Jayce is deeply hurt by it. The one person he expected to believe in him and back him, in this moment, doesn't, and it hurts. It's why Viktor and Mel's support end up meaning so much to him. Ambessa banished her child to essentially save herself, like cutting off a gangrenous limb. In the scene, like the Narcissist™ she is, she manipulates Mel and makes it entirely her fault. Note how much she dominates the frame just as she's aiming to dominate her child and force her to give herself up with the hollow promise of reconciliation, acceptance, love.

Mel has been taught from childhood that she has to earn love, that nothing is freely given without expectation of something in return, and that to show love is a weakness that should be cut off. How she initially approaches Jayce, and how he effectively disarms her with his vulnerability, tender and open affection, makes a lot of sense. She’s not used to this (we can see it plainly on her face in ep. 5 when they fall asleep together). She’s not had this for a long time, maybe ever. But she’s clearly yearned for it (in the space of a few episodes, we already see her opening up to it like a flower that’s been deprived of rain and sunshine for too long) and Jayce is the first person with whom she allows herself to maybe reach out for it.

ALSO these two also have this thing where they really believe in each other. Like, Mel has no reason to support Jayce the way she does and to go out on several limbs to back him and protect him the way she does, but she does. There's a reason Jayce tells her, baldly, in ep. 6 that she makes him feel like nothing's impossible. Like, that's some deep feeling right there. This guy has harnessed literal magic but something about her makes him feel that way and it's a LOT. And we can see in that scene and in ep. 9 that for Mel, who hasn't really had anyone say things like that about her, or believe in her for real (maybe only Kino), it is A LOT, A LOT.

hugs

These two scenes, though. Jayce is at a major crossroads, and he's scared and uncertain, and the person he turns to immediately, whom he trusts with this, is his mother. In contrast, Mel is meeting Ambessa for the first time since her banishment - it's a moment that's pregnant with tension, hurt, anger and bitterness. Neither side willing to show weakness. Ambessa has to walk back to hug her and even then, it's awkward and unnatural, I doubt there was much affectionate hugging happening even before the banishment and it shows. Also notable, however, is that Ambessa is also constantly watching Mel in this scene, and there’s flickers of vulnerability and emotion that she’s far too constipated to properly express. Not yet. There’s love there, it’s messed up, but it is there.

Jayce being so warm, gentle, and freely physically affectionate and also emotionally open is one of my favourite things about him. It’s the way in which he creates a safe space for people to be, to be loved and cared for and to show love and care that makes him so radical to me as a character. And we see this in his interactions with his mother (who taught him), Viktor and Caitlyn. And, I think most powerfully with Mel, because as noted above, she was taught to be something else, and to see this kind of openness and vulnerability as weakness and therefore a threat. This kind of loving and caring, it gets you banished, it means your family cuts you off and abandons you—by all rights, she should be running in the opposite direction from this guy. But there's just something about him (see ep. 4, in which Mel gazes wistfully at Jayce’s goofy face on a blimp for far too long).  

[moonsdancer]

—your brother's gone | mel, kino, ambessa & grief

For a character who doesn't even appear onscreen in the flesh, is only mentioned 2.5x in dialogue, and is, in fact, deceased in the current timeline on the show, Kino Medarda has a pretty profound impact that I had to write about it (some more, since I find excuses to write about him already).

our first mention of him

is in episode eight, mel's nightmare-memory prologue:

Kino says war is a failure of statecraft—young Mel who's no more than twelve years old.

That one line is enough to help us understand almost everything Mel's been doing since the show began, and what comes after only reinforces that. We also see how much she admires, maybe even idolizes her big brother, and takes his wisdom and lessons as truth. We can safely assume that at some point between that nightmare and the present, that Kino eventually did become more of an embodiment of everything expected of Medarda heirs—otherwise, he would've been banished along with his sister. Such is often the plight of eldest siblings.

how much hearing about his death impacts mel.

From the moment Ambessa looks at her with a crushed expression because she's dreading having to tell Mel this news - a first indication that all the brash insensitive talk hides a mother who does care for her daughter, even if it's not in the healthiest ways at times - we start to see shades of Mel we haven't really seen before, not like this. You can see the shock and dawning grief on Mel's face. In the second row image, you can see her face half crumpling as if to cry but she quickly marshals herself and hides behind her righteous fury at Ambessa angling for weapons a few seconds later.

Throughout Vi and Caitlyn's petition before the council Mel's really subdued. In a way that's really noticeable if you watch her closely, which I do. She still holds the tether on herself though and focuses on the task at hand but she’s not herself. She's short with Jayce who keeps pushing for violent retaliation on the undercity. The last thing she wants, she’s never wanted this, and now the one person who absolutely understood why is dead. Haunted but firm, she tells Jayce, You don't know war—I do.

SIDEBAR | A lot of people don’t seem to realise that the memory is just one incident. Mel would’ve been exposed to that kind of thing and much, much worse again and again over her childhood/teen years because it’s not like Ambessa was running around conquering once in a blue moon. War and conquest are a way of life for the Medardas. In episode 5, when Mel tells Jayce that she doesn’t want to be like other Medardas who just take, take and take from the world—it’s not just about wealth or knowledge, it’s about warfare, conquest and the terrible death, suffering and horror for those left behind. And there’s no way Mel wasn’t trained / expected to engage in the warfare and conquering herself before she was banished. So, when she says Jayce doesn’t know war—if his vomiting over the side of the bridge while Mel looks on at the carnage with a horrified but painful familiarity is any indication —she knows what she’s talking about.

Much has been said about Ambessa and how her attitude/demands spur Mel’s decisions in this final act. But I think so much of the underlying motivation for Mel’s actions in this act are Kino. It’s her mercy and compassion, and it’s Kino’s philosophy of being the fox rather than the wolf, of using diplomacy rather than war that drives her on. She doesn’t want to fail, and she doesn’t want to fail him.

In that last row at the council meeting, Mel seems about one nudge from shattering any time the frame focuses on her. She appears more vulnerable than we’ve ever seen, more brittle, more fragile, and deeply, deeply sad.

We have never seen her like this.

When she looks down at the Medarda ring almost like it’s a last albatross she needs to discard, it hits even harder once we find out that mere hours before she was destroying the painting—a representation of her yearning for home and for family, for a life to which she never really belonged, to a world that she feels has nothing left for her no matter how much she still loves her mother, especially with Kino gone.

[moonsdancer]

Mel's ARMOUR confirmed.

The way I'm clinging to my hopium and copium re: Mel's potential survival and will be doing so for the next two years, smh. This show has ruined my life!

[moonsdancer]

We need something revolutionary... something to put Piltover on the map / I sponsored Hextech to protect the city, not burn it to the ground.

meljayvik week 2022 | prompt: hextech & mel

As with many things, it often feels as though people attribute only the most negative possible readings for Mel's investment in and support of Hextech. She believes in the hextech dream, as much as Jayce and Viktor do, of course. Jayce is pretty persuasive. At the heart of things, Mel's reasons for doing much of what she does (backing Hextech, going out of her way to do so, helping two strangers break the law to do so, being the strongest advocate in support of its continued development in the council, hosting who knows how many fundraisers with people she finds deeply unpleasant et al.) are pretty damn noble -- she wants to show her estranged family that there is a different way to do things. That there are ways to prosper without war, blood and violent conquest. That to be a fox means you can paint the world in gold instead of blood-red, through innovation, idealism, ingenuity etc. The reality of this is more complex and messy than she understands. But I love her for it, anyway.

[moonsdancer]

mel, this weird little rose that grew from steel

We don't talk enough about what an absolute weird kid Mel must have been, being the way she is and growing up as the child of the leader of a Noxian warhost.

It’s frankly, shocking, that someone like her came out of the Medarda Clan and made it out alive. When Ambessa says that only the hardiest type of vines survives in Noxus, and Mel tells Jayce that she "fell short of Medarda standards", they really are telling the truth. The Medardas are wolves, and it’s really important that that’s how they describe themselves because it harkens to how they embody and honour the Wolf Kindred in the way they do things as many in Noxus do, there’s no room for softness and tender-hearted mercies.

Death. War. Conquest. Are a way of life for Noxians. Strength is respected above all things. And in the time period where we are, it’s really brute strength prized above all things (Swain et al. haven’t established the Trifarix yet, where someone with Mel’s particular skill set—cunning-guile and political vision—might thrive).

When Mel says it's not often that "we [Medardas] are in a position to give" because all they do is take. She's not kidding. Noxians have been waging expansionist wars, doing their imperial conquest thing for over 500 years by the time Mel was born. Anyone who stood in their way was trampled beneath the empire. Submit or die is the credo by which they live.

This is how one of their conquered (the small nation of Kimir) describes them / excerpts from that story:

"... Noxians carried war on their backs, set it at their table with bread and meat. To defeat something like that, any who opposed them would have to give all of themselves." / "You think we're here to grind you into the dust of history... that choice is always up to the conquered." / "Noxus should have used a chisel to carve its mark in the foundations of Kimir—instead, it wielded a mason's hammer."

And then comes this kid who's more interested in painting murals and building better, more prosperous but still powerful societies instead of grinding opponents beneath the heel of the empire, in making some kind of peace not war.

Even as a child, Mel distinguishes herself stylistically from other Noxians. No blood reds or gunmetal grey boiled leathers for her. She’s out here with her gold robes and pretty ribbons in her hair. LOL, all the other young'uns her age must’ve been like, we know she’s the clan leader’s kid but whyyyy is she coming to weapons training with gold clips in her hair??

Ambessa must've just been like WTF where did this child even come from? Because if I didn’t know any better, I would say it’s not the spawn of my womb. Kino was already bad enough with all his talk of being a fox, but he clearly eventually falls somewhat in line.

But Mel, Mel's got his soft-power-loving ways and then some, and she's stubborn to boot. Stubborn enough that honestly the likely most workable solution (in Ambessa's mind) is to banish her—a teenager, barely more than a child—because she just wouldn’t have ever chiseled herself down enough to fit in with the Noxian way of being, and Ambessa, for all her ruthlessness, wasn’t prepared to wield a hammer on her like most probably would have.