Deceit of Arcane: Bridging the Rift

Arcane: Bridging the Rift | Part 1 - I Only Dream in Risky.

This is Riot’s own making of Arcane and not my timeline of events.

This is my analysis of Bridging the Rift; I will demonstrate that you can’t believe anything Riot say and they purposely conspire to deceive and hide IP theft.

1. The Jace and Vi fight scene video is stated as being 2015, there is no public evidence that Arcane was planned nor even discussed seriously until the end of 2019.

2. Fortiche was 5 people, but they had to build a studio for 300 people.

3. At that point all Fortiche had ever produced was 3 or 4 minute music videos.

4. The world shown on part 1 and in the announcement is not what we got; the characters are not what we got. They are different.

5. It is confirmed by Linke that they don’t have the story, so the show is cancelled.

6. No dates are shown in the show, I find this telling.

END OF EPISODE 1

Part 2 - Persistence (Or When Your Best Still Sucks)

1. Here they confirmed that in 2017, everyone was working hard to deliver the pilot. That is, again an idea, a pipe dream as some of the people who worked on it called it. There is no cemented Arcane. Indeed, most of the ideas for which pilots are made, never come to fruition. Moreover, most of the products announced with Arcane in late 2019, were just ideas and were never made.

2. So at this point, we have a company who are interested in making an animated product longer than the 4 minute music videos.

3. Fortiche had a discussion with Riot who explained that they are not happy with the script on episode 2 and 3.

4. They had, apparently, drafted a couple of scripts and a show bible for the season.

5. Linke was pulled into an intervention where the other Rioters (Workers) told him that it sucked. Intervention?

6. An intervention is “an intentional action to change a situation, with the aim of improving it or preventing it from getting worse (to prevent harm). Interventions are made for toxic, stubborn and harmful behaviours which are damaging to the individuals or others around them.

7. Before we even brake 2018, its shown that they had no clue what they were doing but forged ahead at the cost of others and their own welfare and this is confirmed by the founders of Riot to be a common occurrence.

8. Jan 2018, Linke sent a self-pitying video message to Fortiche, to tell them that the show has been “delayed” for all further production of the follow-up episodes of Arcane. In other videos it is shown that it was “cancelled”, not delayed.

9. After Linke sent the video, Fortiche had to “let the team go.”

10. Let the team go does not sound like a delay, it sounds like a cancellation. If it were delayed Riot would have to keep paying under Frensh Business Law.

11. Sounds like ignorance and a reckless disregard for fair and lawful business practices in Europe. Perhaps this needs to be filed as a labour inspection investigation and claims with les prud’hommes (the labour courts).

12. But it isn’t going to be, because Riot simply ploughed a money train up the backside of Fortiche. I wonder how much of this money was given to the lower employees suffering hardship because of Linke’s recklessness?

13. Riot knew that they didn’t have work for the laid off Fortiche team and didn’t know if they would have future work to bring them back.

14. Rise- In 2008, they talked to Esports and agreed to make a music video to keep the lights on at Fortiche.

15. Rise was released on September 26, 2018.

16. Riot and Fortiche then worked on a video for a K-pop group.

17. POP/STARS" by K/DA, a virtual group created by Riot Games, was released on November 3, 2018.

18. So we know we are out of 2018 and into 2019, yet no dates are provided for the next part.

19. Christian says that they took this time to develop the story but at this point he was made to replace himself as the person in charge of figuring out the story.

20. This confirms that in late 2019, its still just an idea without a solid story or structure.

21. They then tried to hire experienced showrunners and writers, but they couldn’t find anyone. They have billions of dollars which they are known to spit out at will, yet they couldn’t find a single person to take on the show? Really.

22. I state that this is because they had no real show. As his own colleagues told him, as well as his ignorance, and toxic, reckless, disregard for business practices and laws have shown, Linke simply had no show but wouldn’t let it rest because, in my view, he was power hungry to be a “Boss.” He wanted to lord over others, this is shown with is underlings, or subjects at Fortiche and I can show glimpses of it in interviews.

23. Linke says “Six years ago, if you pitched that a video company was gonna do like an animated series which is looking for like drama screenwriters, no one really showed up.”

24. Linke states that they were looking for quite a while.

25. So how long are we talking? 2020, 2021?

26. Linke says that because they couldn’t find anyone, he thought that maybe they would just have to kind of “try again but be less shitty.”

27. Alex Yee says, “it was kinda like just start over again.”

28. Thus at this point, in what, maybe mid to end 2020, they started over again.

29. Alex says “what can we do, that when we like started talking to showrunners you know. Like who could we bring in to be just be an advisor.”

30. Linke says “That’s when they found Monica Macer. She was a showrunner. She worked on Lost.”

31. Monica Macer was working on MacGyver during Lockdown, 2020 and into 2021.

32. All indications show that Macer worked for Riot in 2021.

33. Monica taught the “Showrunners” the basics of crafting a scene and making a show, and how to develop characters.

34. This is many years into the fake timeline presented, they are learning the very basics, level 2 secondary school media studies basics. How many “Showrunners” and “Directors” do you know who get given almost 100 million to learn how to shape a character? What these toxic menaces needed was babysitters.

35. No wonder Riot have been under so much scrutiny. I firmly state that Riot Games is known as a stepping stone playground where people can get paid to “fuck about” whilst they work on their own stuff, then they bounce away from Riot, or perhaps flee back to Europe to avoid the consequences of their actions.

36. Before Arcane, the story narratives at Riot were a complete mess, didn’t align, were nonsensical and incongruent. Arcane (Bloodborg) showed them the way and now the lore of Riots whole history is being changed to fit it.

37. Then, perhaps now in 2021, they hired a bunch of writers with experience.

38. Alex says Amanda was one of those writers. We are talking way into the later stages now.

39. Its reported that Amanda Overton joined the Riot team in 2018. It is unreported what she worked on back in 2018, but we know it wasn’t Arcane, if she did actually work for Riot at all in 2018. I can show many backdating of lies and deception as well as controlling and deleting of data and evidence and NDAs to be deceitful.

40. Later, Amanda served as an executive story editor and contributed to building key character arcs and backstory elements, particularly in Episode 5, "Everybody Wants to Be My Enemy." Yet we know this isn’t all true, because she joined in 2021. Moreover, its reported that Amanda worked from Linke’s outline.

41. Overton frequently engages with Arcane fans on platforms like Reddit and Twitter, where she has shared insights about the writing process, the diversity of the writers' room, and the crafting of Arcane's rich narrative. In interviews, she has also discussed her involvement in shaping character arcs, as well as Arcane's LGBTQ+ representation.

42. I state that this was also lifted from BloodBorg and I believe Amanda Overton was selected to tease these themes and character arcs out of my novel, because Linke & Yee didn’t even know how to make what they were reading.

43. I believe Amanda Overton was partly selected for her demographic profile to show that Riot are being good boys- after being caught with their proverbial pants down many times- to show that they are implementing women into their writing rooms and implementing LGBTQ into stories. I believe that they also took and misused my Bloodborg manuscript to pose these mature themes, to mis-represent their development and acceptance of their past deviant and deplorable actions.

44. Amanda states that “I did have one of the writers teach me how to shoot a gun, like a sniper gun, right before I was going to write Caitlyn’s episode last year.”

45. Last year, way late into the stages of the fake timelines, and Caitlyn’s episode, 5, still wasn’t written. Spoiler but later I’ll show you that Arcane: Bridging the Rift was filmed in the latter half of 2021 alongside the actual making of Arcane. But much had to be cut because of my IP claim made on the 24th of November 2021. This shows that Mid to late 2020, the show wasn’t written.

46. On Oct 22, 2021, Amanda Overton reposted a video trailer of Arcane.

47. Alex says that the biggest change from the way that they were looking at it before was, it was very plot heavy, very forced on what’s the problem that has to get solved, who’s gonna fight who, which he and Linke have called fight porn in many interviews.

48. Alex says what improved the most after bringing in the writers was the emotional story for the characters.

49. Amanda Overton told Linke and Lee that they need to change the Pilot.

50. A pilot is the first episode, or snippet, of a TV show, designed to introduce the story, main characters, and style to audiences and networks. Often, it serves as a test to determine whether the series will proceed with a full season. Pilots establish the core premise, setting, and tone of the series, aiming to engage viewers and demonstrate the show's potential for success. If well-received, the pilot can lead to a series order, where additional episodes are produced for broadcast or streaming.

51. Linke and Yee had the frames where Silco falls into the water as the pilot, in early to mid-2021. This shows that they still didn’t know what the story was, and they had just made a bunch of snippets of my work to try and gain funding. Go checkout my story bites to show where they got this scene from. These two “Showrunners” needed parental guidance, not 100 million dollars to rape another person’s work.

52. Talking of that, Riot Games CEO Nicolo Laurent says that’s when he came in as the CEO, taking this big role with the idea of becoming a multigame developer and a multigame publisher. He said that the TV show was a little curve ball which will cost a massive 9 digit budget. There is a lot of risk in it.

53. Nicolo Laurent states that he remembers bringing Christian in his office to say “Hey, we’ve decided if we are going to fund this for a full season. He had done the pilot.” He confirms that they had made a pilot, that is the stage they were at, at this point, way after having my manuscript.

54. Nicolo Laurent then said, “We are not going to fund a full season for Arcane. Because I’m going to allow you to move to multiple seasons.” Again confirming that the fake timelines presented are deception.

55. Nicolo Laurent then says that “you need to stay committed to players because nothing’s going to be easy. There will be many moments where you want to give up. I know Christian went through this multiple times, we went through this multiple times, and you need to have the grit and courage to continue for players.”

56. In court documents, Ms. O'Donnell said Mr. Laurent repeatedly made sexually suggestive remarks to her, asked her to work at his house when his wife was not home, and told women who worked for Riot that the way to handle stress related to the coronavirus pandemic was to “have kids.”

57. Nicolo Laurent officially stepped down as CEO of Riot Games in September 2023. He announced his decision in May 2023, sharing that he would be leaving to focus on his family and he fled to France. Laurent had been with Riot Games since 2009 and became CEO in 2017. During his tenure, he led the company through major expansions, including the launch of new games like Valorant and the animated series Arcane. Dylan Jadeja, who previously served as Riot’s President, succeeded Laurent as CEO.

58. Linke says, “As we were looking at trying to scale up more, and we had season one in production, we started to think about how we are gonna do the first development of season two at the same time, that’s when we started to look for someone to help figure out the production scale a bit more.”

59. Thus, after gaining funding, way into 2020 perhaps to mid-2021, they still didn’t even have a production schedule, let alone a show.

60. Jane (Jane Chung) Hoffacker says that it was tough because they couldn’t find the right “cultural fit”, a lot of people shied away.

61. Jane (Jane Chung) Hoffacker states that finally, one time she got connected with a woman named Melinda Dilger.

62. Melinda’s LinkedIn resume states that she worked at Riot Games as an Executive Producer on “Arcane" Season 1 & 2 (Netflix series),4 years 4 months, December 2019 - March 2024. We know this isn’t correct as we know that it was into 2020 if not 2021 when she was brought in. But even if we go with this, it shows that Riot’s Arcane: Bridging the Rift timelines are muddled.

63. Milinda states that she worked at home because of Covid.

64. In Los Angeles, COVID-19 restrictions began in early 2020 and went through multiple stages of tightening and loosening based on case surges. The first stay-at-home order was issued in March 2020, closing non-essential businesses and enforcing mask mandates. By mid-2020, restrictions were slightly eased, but surges in cases during winter led to further restrictions and capacity limits, especially in indoor spaces.

65. So we know that it was after March 2020. At the beginning of Covid, businesses didn’t have their lockdown protocols in place, it was simply lockdown. It was mid-2020 before the restrictions were eased slightly.

66. In June 2021, Los Angeles fully reopened, lifting most restrictions; however, mask mandates for indoor spaces were reimposed later in 2021 due to new case increases. By March 2023, Los Angeles County officially ended its local COVID-19 emergency declaration, marking a significant step toward post-pandemic operations.

67. This shows that all of the production and writing had to have happened after Riot had my manuscript and then real writers and showrunners were hired.

68. Jane (Jane Chung) Hoffacker stated that she informed Melinda Dilger of some of the issues they were dealing with, and she seemed unphased by it.

69. Melinda Dilger shows the camera man to her home office and tells him this is where all the meetings happen (On the laptops), and her dog is in all the meetings with her. This shows again that this all took place between covid restrictions, including the filming of Arcane: Bridging the Rift.

70. Melinda Dilger states that the team health when she first started wasn’t so great.

71. The camera then shows Linke and Melinda Dilger with others in meetings with masks on. Linke repeats IP speak which is an obsessive buzzword at Riot.

72. Los Angeles County first implemented a mandatory mask policy for public settings on June 18, 2020, as COVID-19 cases surged across California. This mandate required face coverings in all indoor public spaces, including businesses and government buildings. Though restrictions eased temporarily, the mask mandate was reintroduced in July 2021 due to increased cases from the Delta variant. This mandate continued in various forms, particularly indoors, until early 2022, when it was phased out following declines in case numbers and hospitalizations. Thus this early work meeting for Melinda happened sometime after June 18, 2020, after they had my manuscript.

73. Jane (Chung) Hoffacker states, “by than I was super exhausted because I was like three years into the project or something. I know Christian was exhausted, Alex was beat and like she (Melinda) brought in energy.”

74. Jane (Chung) Hoffacker’s LinkedIn resume states that she worked at Riot Games as a General Manager, Executive Producer for 9 years 1 month, between June 2017 - May 2020 (3 years) on Arcane.

75. Jane left in May. This shows that: A, she left in May 2020. B, Arcane: Bridging the Rift, or this part of her talking, was shot around May 2020, or she came back to shoot it. C, when Melinda started at Riot (May 2020) it was 3 years since Jane started working on it. This points to Melinda Dilger actually starting in May 2020, after they had my manuscript. Do you want a specific date?

76. Melinda Dilger states that from what she was hearing, it was taking them (Linke & Yee) a long time to get their bearings and Fortiche had also never produced a series, so you had a bunch of newbies trying to figure this out, and it is really a different process.

77. In the meeting they are wearing Covid masks. The date on the screen is 2021. I believe it maybe 21/04/2021 at 13:12. Thus this footage was taken in mid-2021, well over a full year of having my manuscript.

78. In Melinda Dilger’s home office we see her on a meeting with others. One of them is Eric Bergman.

79. Eric Bergman served as the post-production supervisor for Arcane across all nine episodes of the first season in 2021. His role involved overseeing the final stages of production, ensuring the animation, editing, and all other post-production elements met the show's high-quality standards. Thus again it shows this was filmed in 2021, perhaps on the run up to Arcane’s release.

80. Melinda Dilger rolled out a production Schedule, starting, backdated to March 2020. She then overly states for the camera, “That’s when this started”. But the date in the top corner is 3/16/2021. MARCH 2021.

81. When building a production schedule, it’s common to start with the target deadline and work backward. This process, called backward planning or back scheduling, helps define necessary milestones, tasks, and dependencies needed to meet the final deadline. Key production phases, such as scripting, storyboarding, animation, and post-production, are assigned specific timeframes based on this reverse timeline. This method allows teams to anticipate potential delays and allocate resources efficiently to ensure the project stays on track. It’s important to see what has happened to get them to the start point, thus, this actual proper production schedule began in mid to late 2020, perhaps even 2021, after Covid restrictions had eased up.

82. The numbers across the top of the production schedule look like date ranges. It shows that compositing (pilot) was taking place at this time, among other things. The show still wasn’t in full production.

83. It then shows the whole of the production lines. This shows that Arcane as it is, was just an idea and it was failing until they got my manuscript, and it was still failing long after until they brought in writers and other professionals to babysit.

84. Melinda Dilger states, “Because this is the first Riots ever done, a lot of things are getting figured out and developed as we go along in production.”

85. The camera shows the whole production line taking place, mostly from Mid 2020 up to the last episode in late 2021 to release date. Towards the beginning, I.e the backdating, there is a lot of white space.

86. Its shows everything, from storyboards, to writing, animation, painting, Cam map, music, mix, lock pic, to international dubbing, casting, voice recording, design, ADR, everything was still being worked out. It zooms into writing time.

87. Melinda Dilger says, “it’s taking longer than a normal show because they are doing it all at once.” Doing it all at once, beginning in the latter half of 2020.

88. She states that “if it takes us a little longer to get those scrips done, that’s what we will do.”

89. This is Melinda Dilger and their own production schedules showing that all Arcane, less for a few prototype testers which got scrapped, was built in a production schedule she made after Covid which was backdated till March 2020.

90. Melinda Dilger then confirmed that they are going to spend more money than most people to get it there. This again confirms the business strategy of tossing Chinese money at everything.

91. Melinda Dilger then says, “and they are doing it because they love the players and they want the players to be happy,” as she gulps, shakes her head and purses her lips. Three very clear indications that she doesn’t believe her own words.

92. I like Melinda Dilger in Arcane: Bridging the Rift, she seems like a bubbly, fun, motherly, organised and well efficient leader. I don’t blame her for any of this, she too was tossed loads of money, possibly backdated and used the Riot springboard to have fun, “fuck about” as they say, then move on to proper work. Was she also brought in to meet cultural fits? This all screams deceptive show-person-ship forced and fake morals and a lack of understanding and care for their crimes and inequality in writing and the workspace.

93. Melinda Dilger went on Angle on Producers with Carolina Groppa podcast: https://podtail.com/podcast/life-with-caca/melinda-dilger-producer-of-arcane-and-global-head-/0

94. On this podcast she states that she came into the project 4 years into it. That’s at least mid-2020. She states that they showed her a pilot. Melinda states that they had already established a look for the show. (the gorilla look). They didn’t have an efficient pipeline. Fortiche was still working out their pipeline. Fortiche had their hands full figuring it out, so she built an infrastructure for the LA team. She states that Mark Taylor was consulting them at the point when she joined. She discussed the mess of it with Mark. So she had to build them a basic org chart for what it should look like. And taught them the very basics from beginning to end. She even had to assign people to their skill sets. She said it was a lot, it was casting the right people, building a team, hiring people, step by step, work chart, schedule, budget, pipeline, all of those things had to be done and figured out, bit by bit. She states that other than team building, which they didn’t even have, she had to do the very basics.

95. Two directionless none-writers who needed to be shown the basics of developing character did not write Arcane.

END OF EPISODE 2

Arcane: Bridging the Rift | Part 3 - Killstreaks Meet Keyframes

1. Christian opens by saying that “there is definitely a lot of Paris life and culture in Arcane. I mean, I don’t think it’s a coincidence that a lot of Piltover looks like Paris.”

2. This confirms that Fortiche, the wonderful Paris based animation company made Piltover in their likeness. Fortiche built Piltover. Mostly from my novel, mostly between 2020 and 2021. Before this it was a place in a game with very little of any actual depth. In the maps before they had my Novel, Piltover and Zaun were across the water from each other, but this has been slowly changed to fit my writing.

3. Christian points up to AccorHotels Arena in Paris, and says, “Yeah so this venue is actually where we had worlds a few years ago.”

4. The 2019 League of Legends World Championship final was held at the AccorHotels Arena in Paris, France. The final took place on November 10, 2019.

5. This again shows that Bridging the Rift, or this part, was filmed toward the end of 2021. In 2019, they had made music videos together and Riot wanted to buy them out.

6. Christian then says, “which is cool, because it’s really close to our studio, so we sent a bunch of people from Fortiche.”

7. Interestingly Linke says “Our Studio” not Fortiche’s studio.

8. Fortiche offices address is: 00 Av. de France, 75013 Paris, France. Just 1.5km from the venue. Fortiche Production, the animation studio behind Arcane, was founded in 2009. However, their prominent Paris office at 100 avenue de France became well-known during the studio's growth, especially as they scaled up production for Arcane. By the time Arcane was in full swing, Fortiche had expanded significantly, with additional locations in Montpellier, France, and Las Palmas, Spain. The Paris location is now their primary office and a key part of their production infrastructure, especially for high-profile collaborations like the one with Riot Games for Arcane.

9. Fortiche Production expanded beyond its main Paris studio by opening additional offices to support its growing projects, particularly for Arcane. The Montpellier studio was set up in 2020. This location specializes in animation and character effects, led by animation supervisor Alexis Wanneroy, who was instrumental in establishing this branch to support the creative vision in animation. The Las Palmas studio in Gran Canaria, Spain, opened later, in October 2020. This location hosts a team of animators and is managed by Remy Terreaux, who brought experience from Dreamworks and aimed to instil Fortiche's creative philosophy in the new team. These expansions were crucial in enabling Fortiche to handle the scale and demands of Arcane production and other ambitious projects with Riot Games. Thus again, in late 2020.

10. This supports what is said in previous episodes and evidence. Riot invested in Fortiche in Paris, then had to shut up shop in the end of 2019 and 2020 because they didn’t have a story.

11. Pascal Charrue, Co-founder of Fortiche Production and co-director of Arcane, says, “For us, Arcane was a big opportunity to show the viewers that we are not only good for making trailers and music videos.”

12. Jérôme Combe, one of the three co-founders of Fortiche Production, talks about his passion for animation and film and TV, not just marketing, which they had been doing until this point.

13. Arnaud Delord, co-founder and director of Fortiche Production, is asked if he is confident about Arcane. He says he don’t know but he hopes people are going to be surprised.

14. This shows that this part of Bridging the Rift was filmed before Arcane’s release in November 2021.

15. Linke says that he thinks, “everybody on the project is out to prove something with what we are doing. I firmly believe that you need to find someone who is willing to bleed for this thing they’re trying to make.”

16. This shows the dogged intensity of Linke to be seen and be revered as a success at any cost. If he is willing to bleed, stealing the answer after he had been shut down is a lot less painful.

17. He further explains that you have to be bold and have to take risks in order to make something that makes an impact.

18. What is he risking? Prison for IP theft maybe?

19. Linke explains that this trip is to get into a room with the directors and to brainstorm for scenes, showing that Arcane is still being made at the point of filming Bridging the Rift in mid to late 2021.

20. We are then shown a meeting with Linke, Yee, the Fortiche directors, Amanda Overton and others. They state that someone is worried about it being too complex. They are wearing lockdown masks.

21. Amanda Overton explains that her, “goal this whole time, is like, I want to solve the story beats with the team in Paris. It’s going to be great to be like hey guys here’s all our awesome ideas. And they then tell us if they can produce it or not. Or steer us into something more achievable.”

22. Alex then explains that it’s not done until its done, like chiselling away at the block of marble. (My manuscript)!

23. The creative and development skills of the main players at Fortiche are explained. They explain that they incorporated the three directors of Fortiche as characters in the show.

24. Arnaud Delord says, “What I like about Fortiche is that we breathe life into the original vision.”

25. This is very telling; this is the crux of the difference between Bloodborg and Arcane. Arcane is Bloodborg bastardised to fit and fix some of the characters and nonsensical backstories and lore of League of Legends, then “chiselled” by many to make the show. This means Bloodborg has bled into all of Riot Games, and I own a stake in everything they have.

26. Arnaud Delord adds, “and everyone kind of adds their stone to the building.”

27. They talk about all of the different creative steps all working alongside each other and alongside the recording of the dialogue with the voice talent.

28. Thomas Vu, Head of Creative and Franchise, explains that they watched the full-on storyboard animatics with voice action in there, so they were able to watch the whole season from start to finish before they animated the rest of the episodes.

29. The Voice Actors are J.B Blanc (Vander), Hailee Steinfeld (Vi), Ella Purnell (Jinx), Katie Leung (Caitlyn), Mia Sinclair Jenness (Powder) among others.

30. We know that the voices were filmed after mid 2020 because they were under Covid restrictions which didn’t allow nonessential work until mid-2020 and on and off until after the show aired. Thus, even if they were at the state of production to fully hit the throttle, which they were not, they wouldn’t be allowed to voice record until mid-2020, at which point they were still searching for voice actors, and we know they only had a pilot of animation at this point, and we know that Melinda Dilger had to programme in the casting after mid-2020.

31. In fact most of the voices were performed in 2021. They initially recorded portions of their roles prior to 2020 (for the pilot), but production adjustments due to COVID-19 meant some actors completed remote sessions and refined recordings closer to the final release in 2021. This allowed the team to align voice work more closely with the developing animation, making subtle adjustments up until the final phases of production. This is also shown on their production schedule.

32. Linke states that he remembers going into the VO recording session, and thinking that today they are going to make an 11- 12 year old cry. He is talking about Mia Sinclair Jenness who was cast as Powder. This is a deceitful misdirection to hide the crimes and IP theft.

33. Mia was born 14 December 2005. She could not have been 12 during video recording. In fact she could be no less than 14 Years, 5 Months, 18 Days. In the snippets of her voice recordings, she looks a lot older than 14. Bios of her at 16 still look younger than she was during recording.

34. In fact, she was reported to have joined the cast in the second week of October 2021.

35. At the time of the CLUELESS podcast, dated 25 Dec 2020, which Mia co-hosted, she had just turned 15 years old, and she looks younger than she did when recording Arcane. Neither she, nor the interviewers and hosts, made any reference to Arcane.

36. The day before, on the CLUELESS podcast, 24 Dec 2020, Mia is introduced as 15 and a Disney star. The host then lists her roles and Arcane is not on it.

37. In the 31 Dec 2020 video, Mia states that she is not working and had very few opportunities. She took many online classes to learn during this time of lockdown. She doesn’t talk about Arcane.

38. Thus we are already into 2021, and Mia hasn’t performed her role, and she is 15 years old.

39. Oh, and then she confirmed that she got the job when she was 10 (which I don’t believe is true) and now she is almost 16.

40. Linke then said, “we were not just making new characters, it’s like I don’t know six years of a hundred million zillion people who have expectations and opinions. So don’t fuck it up.”

41. Six years of what? The show wasn’t announced till late 2019. At the point they announced that they were making an animation show, they were not making it and soon after Fortiche Production, and its 5 people, now around 30 employees, shut up shop, and they had nothing, just an idea and a trailer which wasn’t used. I’ll show later that they have a habit of making whimsical and shooting from the hip announcements of things which they haven’t even begun working on and often have no idea what they are even saying never mind doing. This is the old Hip-N-Dip hype train.

42. The animated music video "Get Jinxed" introduced her as a playable champion in October 2013. To play devil’s advocate, maybe Linke was talking about at the time they announced Arcane as an idea it had been six years from her birth, like six years of playing Jinx from the end of 2013, so we are again already entering 2020. I state again, he was lying anyway and trying to make fake timelines which don’t fit.

43. Linke states that Jinx was the longest of all characters to cast. He said, “I think we looked for the Jinx actress for roughly 3 years.”

44. Let’s analyse this. We know that in mid to end 2020, they started over again. We know that the CEO Nicolo Laurent didn’t give the funding greenlight till way into 2020 perhaps to mid-2021. We know that Melinda Dilger came in mid-2020 and backdated a schedule to March 2020 and casting was on this schedule. Thus Linke is utterly lying. We know that it is reported that it was in fact Mia who joined the cast later than the others, very close to launch date.

45. Unless you wish to believe what Mia said, which is that she was cast when she was 10, in 2015 when Fortiche had 5 people working for them and there was no story nor funding, and she performed the crying scene in 2016 or 17 before the show was written and before Melinda Dilger had done the casting and before they got the greenlight.

46. Linke’s three years makes no sense. Three years from getting the greenlight would mean he doesn’t cast Ella Purnell until the end of this year, 2024, maybe 2025. Even if you work backwards from Mid-2020 when Melinda Dilger’s schedule began to grip hold of the shower of mess, that takes us to mid-2017, when Jinx was less than 4, Fortiche had 5 people, there is no story, they haven’t yet been given the greenlight, they haven’t hired the writers nor the people who actually made the show (Melinda Dilger) and Riot Games as a company was 8 years old.

47. Moreover, we already know that Melinda had to do the casting after mid-2020 to 2021, this is confirmed on the production schedule and in the podcast which I’ve attached in the episode 2 section. During the podcast Melinda is asked, “It took like 6 years, is that correct?” Her answer is a pause then a drawn-out jesting “A long time.” Thus she didn’t answer, because she knows its lies from Linke and his boy Yee, who honestly I can’t figure out why Yee is even named as a creator as he doesn’t seem to have been much involved, other than the “cultural fit” to borrow the very telling phrase from Jane (Jane Chung) Hoffacker.

48. In the Podcast, Melinda then states that the production of season 2 is much better because she is not teaching every single person their jobs.

49. I state that during the filming of Bridging the Rift, the voice actors and others were asked, or paid, to state false timelines. This is called fraud, and it’s a criminal offence.

50. Linke states that in casting Jinx the issue was, “we had to find someone who could do both the intimate and quiet and vulnerable acting moments, and at the same time we needed an actress who could do the really loud moments that Jinx is really known for.”

51. Linke says, “You typically can find one or the other.”

52. What in his extensive experience of learning the basics, makes him an expert in knowing what typical in casting actors is? Please don’t, this is painful.

53. He then states that, “We were looking for so long that he went through the whole of the LA catalogue and said let’s just pick one and go, and it was like no we can’t.” The issue here is twofold, he is lying, they didn’t know how to cast. They went through 4 casting directors but resorted to let’s just pick one. Come on bro.

54. Ella speaks about Jinx and seems to really understand the sensitive themes and emotions… from my book.

55. Someone at Fortiche explains that they are still in production working many parallel lines of work, such as storyboards, and character-props.

56. We see a lot of animation stuff, including the date on a computer- 2021.

57. Aurelien at Fortiche then explains that for 10 years they made 2d effects for Riot.

58. Fortiche Productions first collaborated with Riot Games in 2013, when they created the music video for "Get Jinxed", celebrating the launch of the champion Jinx in League of Legends. This project was the beginning of a long-standing partnership between the two companies. 10 years from 2013 to 2021 cannot be a correct timescale. Play loose here, I don’t believe, is a deceitful attempt, but it shows the loose and not accurate stating of timelines.

59. Yee then says something pointless.

60. We see a date on a different Alex’s screen during the orchestra live feed. It says 2021-06-26, thus I stand correct.

61. Amanda then states, “they’ve been spending what 3 or 4 years on the music for this show.”

62. Really? So like June 2017, when Jinx was three and a half years old as a character, Fortiche had 5 employees, Mia was 11 and working on Gifted, Melinda Dilger was working for Duncan Studio thus was not yet around to teach the team how to make a cup of tea, and they had no story. Oh god, this is eyewatering!

63. Amanda says, ‘every TV show, sometimes you get three or four weeks for an episode. Arcane had 9 episodes. That’s 27 to 36 weeks. But let’s be generous, overall, for an entire season, the music production timeline can span anywhere from a few months to over a year depending on the length of the season and complexity of the score. However, Riot has billions of dollars to piss up the wall and an in-house music label, which only opened in 2020, which speeds up the timelines massively.

64. We are then shown a cover of Trueshot. Trueshot is the Riot Games' in-house music label, created to support original music projects for League of Legends and its related properties. Founded in 2020, Trueshot aims to manage and expand Riot's extensive music portfolio, releasing songs, soundtracks, and supporting virtual bands and other creative music ventures associated with League of Legends. Trueshot was officially launched by Riot Games in February 2020. It’s more likely that the whole of the in-house music for Arcane was collaborated by Trueshot sometime after its inception in 2020.

65. Linke then says that he would say Arcane is all the muscle they have grown in the company in the music making craft combined.

66. Cool… But it still my book.

END EPISODE 3

The second half of my analysis of Bridging the Rift will follow, every person mentioned will be summoned to testify.