Nonverbal Communication in Close Liaison with Emotions: A Case Study of the Animated Series of Arcane

FACULTAD DE FILOLOGÍA TRABAJO DE FIN DE GRADO GRADO EN ESTUDIOS INGLESES TÍTULO: Nonverbal Communication in Close Liaison with Emotions: A Case Study of the Animated Series of Arcane AUTOR: Ana Cristóbal Navarro TUTORA: José Enrique García González FECHA: 26 de mayo de 2025 INDEX 1. INTRODUCTION ...................................................................................................... 1 2. NONVERBAL COMMUNICATION ....................................................................... 2 3. METHODOLOGY ..................................................................................................... 6 4. RESULTS AND DISCUSSION ................................................................................. 8 4.1. Nonverbal cues between Vi and Caitlyn in Season 1 ........................................ 8 4.2. Nonverbal cues between Vi and Caitlyn in Season 2 ...................................... 11 4.3. Developmental differences between Vi and Caitlyn ....................................... 13 5. CONCLUSIONS ....................................................................................................... 22 REFERENCES ............................................................................................................. 24 ................................................................................................................ 26 ................................................................................................................ 35 ................................................................................................................ 41 ................................................................................................................ 46 1 1. INTRODUCTION Gestures, touch, proximity, glances… all these human behaviours are utterly important in communication. Think about when you and your friend are aware of what the other one means just with specific gestures or glances, or when you are on a date with your significant other and exchange light touches or get closer each time your trust grows. This type of behaviour is usually seen in series and films, in which real actors use these practices to add meaning to what they are communicating verbally. This behaviour may sometimes occur naturally in live-action performances, or even by chance, but in animated series like Arcane, nothing is casual, each micro expression and gesture is done purposely, which provides us with lots of information about nonverbal communication. In Arcane, there are several characters and each of them displays a different story and ways of communicating, but I will be focusing on two of the main ones: Vi and Caitlyn. These two characters belong to two completely different worlds, different cities and two opposite social standings, starting their relation in a jailcell, out of which Caitlyn frees Vi to help her in an ongoing investigation. Their relationship evolves from enmity, to friendship, to lovers, thus their ways of communicating also evolve. Therefore, I will be analysing the evolution of their nonverbal communication from the very beginning of their relationship (Season 1) until the end of the series (Season 2). The goal of this study is to analyse and demonstrate how nonverbal behaviour, specially touch and proximity, increase both in quantity and quality as a (love) relationship grows between these two people, as “studies of liking and interpersonal attraction […] tend to associate positive affect with close proximity” (Sundstrom & Altman, 1976). The expected results of this analysis include: an increase of intimate distances and a decrease of social distances, an increase of physical contact, and an increase of various nonverbal behaviours such as personal glances. First, a theoretical framework about nonverbal communication will be provided (Section 2) including a table with the list of all extracts from Seasons 1 and 2 that contain every interaction between Vi and Caitlyn that will be analysed, and then I will explain in the methodology section a detailed account of all the steps I have undertaken in my analysis. Following the methodology, I will show and interpret the results in the 2 subsequent section. Finally, I have included 4 appendixes: Appendixes A and B contain the transcriptions of each extract mentioned in Section 2 (Nonverbal communication) and Appendixes C and D contain a full account of all nonverbal verbal cues in each extract. 2. NONVERBAL COMMUNICATION To a greater or lesser extent, it is known that humans need from one another to exist and communicate ideas, as Ristic (2024, p.145) stated, “The need for social bonds is one of the most essential human needs”. But how many types of human communication can we find? Professor Converse Willkom (2018) stated that there are 5 types of human communication: verbal, non-verbal, written, listening, and visual. Verbal communication is the well-known primary way of communicating with words when speaking with others, either face-to-face or via telephone or using similar ways as Discord, Zoom… Non-verbal communication refers to the gestures, body language, facial expressions and paralinguistic features (stress, pitch, rate and volume of the voice) that each of us use when engaging in conversation with other individuals. Written communication is the one that individuals use when communicating via email, Facebook, a letter… Also, listening (more specifically, active listening) is, as Willkomm (2018, para. 5) stated, “one of the most important types of communication because if we cannot listen to the person sitting across from us, we cannot effectively engage with them”. And finally, visual communication, which is found in visual memes, videos on the internet, television… But the two main types of communication and the two most widely recognised, are verbal and non-verbal communication, although the latter has been a bit overlooked by researchers. Kelmaganbetova et al. (2023) stated that aspects of nonverbal communication were not taken seriously to be studied until the early 1960s, which is surprising, as the gestures, intonation, facial expressions… convey great amount of information that complement words in verbal communication. In their study, they also stated that Professor Mehrabian (1967, p. 1) believes that “three main factors play the most crucial role in communication: what we say (7%), how we say it (38%), and the body language we use (55%)”, leaving only a small percentage (7%) to verbal communication, that is, only words. As expressed by Hall, Horgan and Murphy (2019, p. 272), nonverbal communication (NVC) is defined as “behaviour of the face, body, or voice minus the linguistic content, in other words, everything but the words”. Or another simpler 3 definition given by DeVito (2002, p. 155), “communication without words”. In fact, DeVito (2002, p. 134) states that “nonverbal messages may communicate the exact same meanings as verbal messages”, and this type of communication has six ways in which it blends with verbal communication. Nonverbal messages can emphasize, complement, contradict, regulate, repeat and even substitute verbal messages, for this reason they cannot be overlooked by any means. The study of NVC includes other areas such as kinesics (use of arms, legs, face and hands to convey meaning), proxemics (study of space and proximity depending on the intimacy or power of the individuals in a conversation), paralanguage (use of elements like volume, pitch or rate of the voice to express emotions) and others like chronemics (how people regulate time in communication in different cultures) and olfatics (how a person communicates ethnicity, social class and status through smell) (Neuliep, 2018, p. 426). It is also important to mention haptics, which is the study of touch (Eunson, 2012). Among all these areas of study, the most important ones to take into account in this work will be kinesics, proxemics, paralanguage and haptics. Kinesics According to DeVito (2002) and Neuliep (2018) there are five main types of kinesics elements: emblems, illustrators, affect displays, regulators and adaptors. Emblems, which are the hand(s) (or body) gestures that can be interpreted into words (e.g. OK sign) and are usually specific in certain cultures (e.g. if someone makes the V sign with the palm facing their face in England, this is considered insulting, whereas in most other cultures it is acceptable); illustrators, that are gestures or movements made with the body that complement or enhance the verbal message (e.g. a gesture to the left when refering to something in that direction); affect displays, which refer to the movements of the body, hands and especially the face that communicate emotions (e.g. frowning or body tension); regulators, that consist of the behaviours of the body that control, coordinate or monitor the speaking to another individual (e.g. nodding to let the speaker know that they are being understood and finally, adaptors, which consist on gestures that adapt and satisfy one’s needs; these can be self-adaptors (e.g. scratching oneself), alter-adaptors (e.g. removing some dust from someone’s jacket) or object-adaptors (e.g. doodling on a piece of paper). In the study further ahead, we will focus on the following elements: emblems, illustrators, affect displays, regulators and adaptors. 4 Following with the study of the use of gestures to convey meaning, it is impossible to mention kinesics without the use of facial communication. DeVito (2002) in his research mentions that Ekman, Friesen, & Ellsworth (1972) state that facial movements express at least: happiness, surprise, fear, anger, sadness, disgust, contempt, and interest, which are called primary affect displays (pure emotions). If individuals were to combine facial displays, these would be called affect blends. So, to manage all these emotions DeVito mentions Malandro, Barker, & Barker’s work (1989) and the techniques to do so, as the individual could make use of: intensifying (to exaggerate a feeling), deintensifying (to cover a feeling), neutralizing (to hide an emotion) and masking (to replace a feeling for the expression of another one). Alongside facial communication, another very important point to consider in this work will be eye communication (oculesis). DeVito (2002) states that the messages sent by the eyes depend on the direction, duration and quality of the eye behaviour. Depending on the place or culture, if an individual breaks the rules for the expected gaze direction when communicating (e.g. not maintaining eye contact, behaviour or duration of the eye communication, etc.), it can mean that the individual has abnormally high/low interest, is nervous, self-conscious … Eye behaviour can communicate different emotions as well (fear, disgust, surprise …). DeVito mentions eye contact and avoidance too. Eye contact can either seek feedback or inform the other individual that you are open to communication. Following with kinesics, it is also essential to mention body gestures and movement. Gestures like nodding, shrugging your shoulders, finger gestures, crossing your legs … all convey meaning and indulge in backchanneling, which is the nonverbal feedback an individual gives to his/her partner in a conversation (Eunson, 2012). It is also important to notice an individual’s orientation and synchronization of the body, as this sends messages too. If an individual is interested in someone, they will orientate their body towards them, and when there is a great amount of synchronisation between individuals, this means that they have a greater relationship. 5 Proxemics Proxemics is defined by DeVito (2002) as the area of study focused on the use of space to communicate. Following the definition of proxemics, there are four different proxemic distances distinguished by Eunson (2012): intimate (only for people the individual knows very well), personal (familiar people like friends or close colleagues), social-consultative (only acceptable for people the individual knows moderately), and the public (allowed zone for people the individual hardly knows or strangers). Figure 1: Eunson (2012, p. 270) Although Figure 1 illustrates the approximate distance related to each proxemics zone, it varies depending on the culture (Figure 1 belongs to middle-class North American of northern European heritage). Another classification of interpersonal distances was made by DeVito (2002). Figure 2: DeVito (2002, p. 142) Paralanguage 6 DeVito (2012, p. 148) relates paralanguage to “the vocal but nonverbal dimension of speech. It has to do not with what you say but with how you say it”. He differentiates between various aspects of paralanguage: stress, pitch, rate and volume of the voice. These differences convey a lot of meaning, it can emphasize speech by adding anger, sarcasm… or even sexual suggestiveness (Eunson, 2012). Even the volume at which individuals speak can vary depending on the physical distance between speakers, as well as the voice pitch, which changes depending on whom we are interacting with or the situation that individuals are in. For example, individuals often lower their pitch as a sign of warning, or they can heighten their pitch when trying to be deceptive. These nonverbal characteristics can often be accompanied by other nonverbal characteristics, such as eye contact, to convey even more credible meaning. Another aspect of paralanguage, and although it may not seem important, is silence, which can carry as much or even more information than words. It can either be used to: punctuate ideas, evaluate or judge and express wrath, fear, love or even disgust (Eunson, 2012). Haptics The study of touch is of quite importance in this work. As Eunson (2012, p. 267) stated, haptics “reveals much about human behaviour. It links gesture, posture and territory, or personal space”. He also classifies touch into five types: professional, social, friendship, love and sexual. The interpretation of touch varies depending on culture, age, sex, situation and relationship with the other individual (Neuliep, 2018). Touch also communicates feelings and convey meaning (e.g. touching another individual to communicate “do it” or “I am here for you”) but they can also be a form of greeting or be task-related, as helping someone out of a car. Touching can convey several meanings, but touch avoidance can carry certain information too. Lustig & Koester (2006, p. 223) mention in their work that “touch is a highly personal and sensitive activity”, so if the appropriate situation or relationship is not given, touching might not be seen as a viable option for non-verbal communication. 3. METHODOLOGY In this case study, I will analyse the nonverbal communication in two of the main characters of the animated series of Arcane (Linke & Yee, 2021-2024), an original Netflix series based on the videogame League of Legends (Merril & Beck, 2009). For this 7 1This is the last one purpose, two seasons of the series will be analysed in order to study the relationship between Vi (V from now onwards) and Caitlyn (C from now onwards), who both have their first encounter on episode 4 of the first season. The relationship between these two characters develops from episode 4 in the first season (released in 2021) until episode 9 of the second season1 (released in 2024), except for episodes 4, 5 and 7 (second season), because these characters are not present in these episodes. Their nonverbal cues will be studied and contrasted as the series goes on and their relationship grows. The objective is to observe how their nonverbal communication changes through the course of the series and how it progresses and changes as they become closer and the perspective of their relationship changes. For this purpose, I will use a selection of episodes from Netflix. The transcriptions of the extracts of each season can be found in the Appendixes A (Season 1, extracts 1-24) and B (Season 2, extracts 25-42) respectively. Additionally, Appendixes C (Season 1, extracts 1-24) and D (Season 2, extracts 25-42) will contain the number and types of all non-verbal cues used and the frequency in which they appear. Interactions between Vi and Caitlyn Season 1 Episode Timestamp 4 Extract 1 (36’37’’ to 36’56’’) 5 Extract 2 (2:35” to 4’13”) Extract 3 (4’52” to 5’05”) Extract 4 (11’30” to 13’22”) Extract 5 (14’27” to 15’18”) Extract 6 (18’30” to 18’52”) Extract 7 (21’33” to 23’00”) Extract 8 (35’29” to 35’58”) 6 Extract 9 (9’48” to 10’45”) Extract 10 (17’14” to 18’09”) Extract 11 (26’10” to 27’34”) Extract 12 (34’40” to 34’53”) 7 Extract 13 (1’06” to 1’50”) Extract 14 (19’18” to 19’24”) Extract 15 (21’35” to 23’03”) Extract 16 (27’48” to 28’38”) Extract 17 (32’20” to 32’48”) 14 identify the relation between them, which is the reason that I will not be analysing them in-depth. Frequency, in this case, is very important, as Season 1 has 24 extracts in total. Although the number of times that nonverbal cues such as adaptors, personal distances and physical contact in Season 2 are much more frequent than Season 1, it would not be fair to compare only absolute numerical data as each season has a different quantity of extracts (i.e. Season 1, 24 and Season 2, 18). Once explained the importance of the frequency data, I want to highlight two of those specific elements (adaptors and physical contact). Although Season 2 has less extracts, there is a greater number of times in which V and C interact physically with each other, whether via adaptors or merely physical touch, which says a lot of their “love language” and how they express themselves throughout the series. In V and C’s first encounter, they meet in a jailcell. C is cautious about what she might find, and V is very hostile because of her bad experience with enforcers in the past. They maintain certain distance and deflect personal information with irony (reflected in the few encounters with social distance, just 38% as we can see in Table 3), almost like enemies. Although they do not know each other personally, they believe to have opposite beliefs and do not think about getting along, so even when V accepts to help C, they do not let their defensive walls down, still maintaining some personal distance. V seems more confident in herself, and while they still do not trust each other, C sees that, V after all, is trying to collaborate. The first close encounter that they have is in episode 5 (Extract 7), where V shoves C to a wall saying her iconic line “You’re hot, Cupake”. This is a blunt declaration, still lacking personal feelings, that makes C realize that V might be attracted to her and vice versa. This nickname becomes a recurrent way of bonding between both characters, just as physical contact. Helping each other out and getting close for support become their ways of expressing closeness in their relationship (as we can see in Table 3 with 46% of personal distance and the 54% of intimate distance). What at first is merely a way of surviving, then becomes a way of expressing their love and affection towards each other. In episode 6, when V is heavily wounded and is hesitant to accept C’s help, there is another very important scene that, in terms of their nonverbal communication and relationship, is worth mentioning: when C is finally able to help V out by giving her ‘shimmer’ (a drug), C calms down V after the initial shock (extract 11). In this situation, they both interchange glances at each other’s lips, followed by C shaking 15 her head not to let further thoughts to get to her (133% of adaptors as we can see in Table 3). Amanda Overton (writer and co-producer of the series) (2024), commented about this scene in an interview: One of my favourite notes Christian gave me was during episode six where Cait and Vi lean in. She’s giving her a potion to heal her wounds, and she holds her face. They hold their faces together. And Christian was like, ‘I think they can hold that pose a little bit longer’ during the animatic phase because he wanted the animators to have time to give that reaction she does of being flustered, because she is attracted to this woman. C realises that, in fact, she is attracted to V, and that is a huge step in their language evolution and relationship. They further continue to develop their relationship and trust each other more while the season continues, the spectator can even observe when in episode 7 (extract 13) C is completely concerned about V when she calls her name with a worried tone and tries to escape to help her (one of the reasons that causes a change of volume and stress above average that contribute to the percentages of 46% and 17% respectively in Table 3). V’s relationship with C also grows, showing her affection by (now) protecting her (extract 15) instead of pushing her away, opposite to before. Next extract (16) is also very important, as it is the first time C and V hug. This kind of physical contact had not taken place before, and it is a clear sign of development in their relationship, leaving room for more in a future. V even caresses C’s face before leaving, which is also a clear sign of romantic involvement. At this point there is no sign of those strangers that met in a jailcell, and we could call them “friends”. C then even brings V to her house (extract 20), defending her and allowing her to have an intimate moment in her bed, where they confess some personal information about their past while being very close and having a lot of physical contact (which builds until forming the 63% of physical contact in Table 3). In fact, when being asked “when did they (C and V) realize they had feelings”, Amanda Overton (League of Legends, 2025) stated: I think, honestly, they realized they had feeling really early on. Even in the first moment when she (Vi) saw Caitlyn, you know, kind of tenaciously stumble down the lanes and, like, land next to her. She, you know, you could tell she was impressed in that moment but she pushes it down. I think she’s attracted to her in 16 the brothel and she pushes it down. She spends that whole season kind of blocking it, which is why I think that moment of intimacy they share in the bed together is such a turning point for their relationship. This moment was the calm before the storm, as after this scene comes extract 21. This is the moment when they have their first tough argument, their body language here is colder than usual, maintaining their distances, using a high volume and different pitch, no physical contact… is like all their progress is gone, and now they are not even partners anymore, although C tries to keep their relationship, V pushes her away (which is the only occasion with a public distance between them, constituting the 4% in Table 3). The next scene is when they see each other is seated at a table, both captured by Jinx (extract 22). C has even been held captive and tortured by her, so she seems very frightened. V tries to convince Jinx not to hurt her (C), as it is very clear that their affection has grown, and V would never wish C to get hurt. They do not interact directly with each other until they escape from that situation and V is holding C while they observe the rocket Jinx has launched against the council (extract 24), killing C’s mother, which will be the main reason that will drive C to change drastically in Season 2. This scene has no sound, but the way in which they express their emotions with just affect displays (that as I mentioned, happen with a frequency of 317% in Season 1, Table 3) is very impressive. Also, the way V holds C shows their closeness and how V is her only support in those moments. After Season 1 ends, V and C have their first encounter in Season 2, episode 1 (extract 25). After C’s mother burial has taken place, C crumbles in V’s arms. She even tries to smile for a moment, but for once, she shows herself as vulnerable with the only person that she allows to be herself with, literally letting herself fall as she knows that V will catch her, demonstrating again what a great connection they have formed in such a little time and how they show their affection in physical ways as physical contact and such an intimate distance (which in Table 4, comparing it with Table 3, intimate distance has grown in frequency a 18%). As for V’s reaction, she seems surprised that C is trusting her so much, and even at first she feels a bit hesitant to hug C, so she keeps her fists clenched until she feels that she is allowed to touch her fully, as this is a very vulnerable moment for C. Then they share a moment of visual contact before returning to a personal distance, proceeding to have a rough conversation about their plan to capture Jinx. This conversation is full of adaptors (which in Table 4 have a frequency of 256%) and affect 17 displays, portraying a great variety of uses of non-verbal communication. Then this talk takes a bitter turn as V rejects C’s proposition about joining the enforcers, causing V to feel betrayed and to get away from C into a public distance, which is a big step back into the development of their relationship. Public distance, as well as intimate distance, has grown, and it has gone from a frequency of 4% in Table 3 to a 17% in Table 4. The next time they see each other is in a very tricky situation. In the middle of a memorial of all the people that lost their lives because of Jinx, the “enemies” of Piltover4 attack the ceremony, getting C into a dangerous situation, until V arrives to save her. Although they have had no time to talk after their fight, they still demonstrate their affection towards each other through physical contact and a tender look from V towards C when she helps her get up (extract 26). This scene is followed by the aftermath of the fight (extract 27), where C seems deeply affected by this sabotage, showing an enraged look and voice when expressing how she feels when talking to V, meanwhile she tries to calm her down maintaining a personal distance not to invade her space too much while angry. C is obviously grieving her mother and is trying to process her emotions through all this political turmoil, and V is there to help her cope, with affirming words and tender physical contact. After this talk, V finally accepts to join the enforcers and trap Jinx once and for all, even if it is against her beliefs. Next scene in which C and V interact with each other, is when they enter a place looking for Jinx, unsuccessfully. Even without words, in extract 28, they show their closeness and reliance when V shows C some support when touching her shoulder as a way of telling her that it is ok. C and V keep looking for Jinx (extract 29), and when they find a suspect that confesses some important information to them, V feels C out of her normal self, maintaining a social distance with her. Even in the next scene (extract 30), they appear to maintain the social distance mentioned before, as they have lost some of their closeness. When V confesses to C that she thinks appropriate to continue without their team, C seems to disagree. After V explains her reasons for this, C stops acting coldly and shortens her distance, returning to their ways of communicating. She uses an intimate distance with V to caress her cheek, and after altering her gaze between V’s eyes and lips several times, they kiss. Seconds before the kiss, V also seems to look at C’s eyes and lips alternately, her breath getting shakier with every centimetre that C shortens between her, after finally 4 Piltover (where Caitlyn is from) is a prosperous city-state situated above the city of Zaun (where Vi is from) (Riot Games) 18 accepting that this moment has finally come. Following this kiss, they let themselves feel this moment that was waited by them both during all Season 1, V lets her gauntlets fall, and then, grabbing C passionately, they kiss again, having plenty of physical contact and with no sight of the social distance that was seen before. If we look at Table 4, moments like this one are the one that made the percentage of physical contact in Season 1 go from 63% to 89% in Season 2. In extract 31, even though they maintain a closer distance between them after their affectionate encounter, V seems pretty affected by what they are about to do (face Jinx), as, after all, she is her sister. C also seems preoccupied, lifting the pitch in her voice and grabbing V’s arm to keep her closer, but this time, the one who breaks their closeness is V. After C and V have an intense fight with Jinx and the appearance of an unexpected character (Isha, a little kid), they almost have her (Jinx) captured. In this scene (extract 32), C and V act more like job partners than lovers. At this point, C is very frustrated with the situation, she just wants to annihilate her mother’s killer and V is prohibiting her from it (there is a child, Isha, on top of Jinx, making it dangerous to shoot). V maintains a public distance from C, constantly trying to calm her down with nonverbal messages, and after getting shot by C, she manages to get closer to her, raising her voice before the imminent danger and stopping her from shooting again. Through affect displays, they portray the emotions they cannot express with words in this tense moment, looking at each other as if they were not the same people that were sharing a kiss moments ago. Even in a moment of disagreement like this, V does not doubt to help C when this situation takes a turn for the worst, getting trapped in one of the tunnels they were in. Next scene (extract 33) is a crucial turning point in their relationship. After getting trapped by Jinx’s fault, they have a conversation about what just happened. V can be seen open to discussion, getting her gloves down and getting closer to C, but C is seen with an aggressive and frustrated behaviour, even trying to avoid eye contact with V. Then she tries to get away from her, but V grabs her, first with a strong grip, but then she softens it, showing that although she is tense, she still cares about her. C still refuses to look at V, and after taking a few shaky breaths and her lip trembling, as if fearing what she is going to do next, she hits V in her stomach with her gun and looks at her from above, making V fall to her knees. This is quite important in the story, as they have (almost) always looked at each other at the same height, but now C feels more powerful than V, as if she 19 is the only one who is right and the rest is wrong; she is full of superiority. C gives her an angry look that transforms into a regretful one for a brief moment, giving a hint that a part of her might be already regretting that. C then gets away from V, leaving her completely desolated and crying. This act not only hurt V physically but broke all the trust that was built between them. Their affect displays here are very important, as they show what they feel after words cannot be used, being a clear example of why the percentage of affect displays is so high in this Season (411%). Actually, after this intense scene, V and C take different paths. On the one hand, V gets so depressed about losing C that she becomes a clandestine boxer, fighting for money. Her way of coping is hurting herself. On the other hand, C got manipulated by another character, Ambessa, into becoming a (almost) dictator, allying herself with the empire of Noxus5, declaring the martial law to invade Zaun, being blind by vengeance. She also gets into a relationship with another woman, Maddie, so we can deduce that her way of coping is to get affection from other people (contrary from V that does not allow to get pleasure for herself in any way), potentially hurting them in a future. Interestingly, both of them engage in a type of coping with their problems called avoidance-oriented coping (Song et. Al, 2023), which lead them to employ different distracting activities as a way of fixing them, which is considered to be maladaptive. C and V do not have another encounter until episode 6, where V is casually walking by, looking at her surroundings, when C assaults her and holds her to the ground. At first, neither of them recognises each other, but when they do, they both soften their gaze at least for a moment. Considering that the last time they had an encounter it ended terribly, the first conversation that they have now is not going to be pleasurable. Almost like in Season 1, V shoves C’s arm away from her and C looks at her confusedly and a bit contemptuously, even with a harsh tone in her voice. It is not until V calls C “Cupcake” that C’s attitude changes. This causes C to look at V with a very soft and emotional way, as if remembering all the affection and moments lived together. Then she breaks this intimate moment to get up and watch their surroundings to make sure they are safe, a moment that V uses to tell her why she is there. When C realises that V is there to save her family, which is a very important matter in her life, her expression changes and realises that she must help her achieve her plan. This scene lacks from affective adaptors or physical contact, which is always very present in their relationship, but either way they include several affect displays, once again portrayed in the 411% in Table 4. 5 Noxus is “a powerful empire with a fearsome reputation”, homeland of Ambessa and Maddie (Riot Games) 20 In extract 35, the spectator might feel betrayed by C, as this scene shows how C has cuffed V and handed her to Ambessa, her superior. We can see extremely odd behaviour between V and C at this point of the story, as they look at each other with hate and a sense of betrayal, V even spits at her; but before C leaves V there, we can see some hints that help us deduce that C still cares about V, as for example, her looking around to see if the place where she is leaving V is really safe for her to be on her own. Again, this excerpt lacks from the usual intimate distance, affective physical displays or alteradaptors. After it is revealed that this was all a plan, there is a brief scene (extract 36) in which the spectator can see some moments between C and V preparing their scheme in which C hits V in her face after she gestures her to do it, to what C responds with a shrug. This is one of the few scenes in which there are two emblems (2/3 emblems in Table 4, meaning that emblems happen with a frequency of 17% in Season 2). Afterwards, it is shown how C puts V’s hood on. While she does this, it can be guessed that she is focusing on her lips (their eyes are not on frame), which is why she has to close hers, not to concentrate on her partner’s anymore. There is no verbal communication in this excerpt, which demonstrates once again how much can be said without words and how this behaviour is actually more “them”, showing a little improvement in their relationship. Their next interaction is again very brief (extract 37). When their plan succeeds and V is finally reunited with her family, V and C share a look in which V seems happy and relieved, and C seems more confused. This scene is also followed by another brief one (extract 38), but even though it is not long, it holds value. After betraying Ambessa, this triggers a huge fight between in Zaun and Noxus in which V is heavily wounded. C can be seen with an expression of extreme terror whilst running towards V. It can be appreciated how much she cares about her and how little she cares about their previous fight as the murderer of her mother (Jinx) who she has been tracking since the very beginning of the series, passes besides her, even pushing her, and she does not even care. As mentioned before, even though this scene has no verbal messages, the affect displays, alter-adaptor, intimate distance and physical contact demonstrate that her affection towards V is not gone. Their following interaction happens when, after the mentioned battle, V has already been medically treated in C’s house and suddenly wakes up, discovering that, even when Jinx has finally changed and helped them achieve their plan, C has arrested 21 her and put her in a cell. They argue about this matter and throw complaints about each other’s acts. This is a behaviour never seen before between them and there is no sight of an intimate distance, good affective displays or even physical contact. They maintain a social distance, which appears with a frequency of roughly 44% percent as shown in Table 4 throughout their conversation and then V leaves, frustrated. C can also be seen showing physical signs of frustration, as biting her inside of her cheek. The next scene I am going to comment on is one of the most important ones for both characters (extract 40), as their relationship reaches a very high point of trust. After the previous argument, C takes the decision of giving V the possibility of letting her sister go without V knowing. When C arrives at the jailcell and sees that V has done what she thought she would do and V realises, she grabs C’s neck and kisses her passionately. When C lets V that she has not betrayed her in any way when saying “You really think I needed all the guards at the Hexgates?”, this becomes the sign that V needed to know to trust C again, finally forgetting about all the external responsibilities and letting herself enjoy for once. This kiss gets C off guard as we can appreciate in her affect displays, in which we have 11 of them in this scene, being extremely important in their communication. They are also seen glancing at each other to make sure they are really enjoying the kiss as a form of consent. After a few seconds, C decides that it is now ok to make use of more physical contact between them and pulls V closer to her. After this kiss, C pulls away and confesses to V that in the meantime, she has been seeing someone else, to which V replies with another kiss, showing how little she cares and how she prefers to appreciate that moment. This confession makes C feel guilty, nervous even, as we can see in her facial expressions, trying to avoid V’s eyes and stuttering. Throughout the rest of this scene, we can appreciate how their usual physical contact makes an appearance again, returning to the point of their relationship that they were before. They show a great quantity of intimate distance, affect displays like smiles, frowning, facial expressions like surprise, self-sufficiency… and most of all, (prolonged) physical contact, being the scene that represents most the 89% percentage in Table 4. Overall, this scene is where their physical closeness peaks, as it is something they have been imagining for a long time, being the clearest proof of the evolution of their relationship. It is also worth mentioning that there is a parallelism between this scene and the first time they see each other (Episode 4, Season 1, extract 1) when V is facing the bars before she turns her head 22 towards C (AMajesticPoro, 2024), which I consider it to be another sign allowing us to compare the development of their relationship. Following this scene, extract 41 follows. This brief interaction between both characters takes place in a reunion with more characters to decide how to approach the war that they are in, where once again, they comfort each other through physical contact and affect displays. Extract 42 contains the final scene of the series and the culmination of the relationship of these two characters. It shows how after the war, they actually live together. In the scene, V appears humming a song in the living room when C hears and decides to accompany her, giving her a little push as a love demonstration. Then they both remain in a very intimate distance with each other, sharing some affirming words and more affective behaviour towards each other. Watching this scene and comparing it to the first time they met offers an obvious change of behaviour from both of them and shows the result of the development of their relationship. 5. CONCLUSIONS After all this research and analysis of the nonverbal behaviours between V and C and the evolution of their relationship, it is remarkable how gestures and physical touch can evolve so much. The physical touch they first shared, as an aggression, has now turned in light caresses of love. The distance they maintained as a security measure, is now inexistent, and the gestures made to maintain each other away, now work as stress relievers. As I theorised, in the same way as V and C’s relationship has grown, their nonverbal communication also has. The distance between them has become remarkably closer, the moments of physical touch have increased, as so did their affection and way of adapting their messages towards each other. This created an indissoluble and strong relation between verbal communication, nonverbal communication and emotions, creating a firm pyramid formed by three corners that are not able to work without each other. Due to my previous interest in the series and use of nonverbal communication, this project has been very intriguing and fascinating. To make it as dynamic and enjoyable as possible, I have investigated and learnt about the most important and interesting facts 23 about nonverbal communication to apply it to my already acquired knowledge of the series, creating a pleading result. On account of the lack of space and more specific and scientific research, I was not able to provide more information about the changes in stress, pitch, rate and volume, and because of it, vocalics, which are a “code of nonverbal communication that include elements such as volume, pitch, vocal variation, rate, pausing, and tone” (Winer et. Al, 2023), could be considered for a future research. After all, even without this analysis, Arcane provides a marvellous representation of the evolution of two characters who not only build and improve their relationship from 0, but also change their way of communicating with each other not just using their words, but their emotions in close liaison with their bodies. 30 Jinx: Who are you? Vi: It's okay. She's a friend. Jinx: Sevika wasn't lying? You're with an enforcer? Caitlyn: Your sister is Jinx? Vi: Caitlyn, just listen, we can work this out. Extract (13) Caitlyn: [grunts] I knew it was a mistake trusting you. Vi: You've been a real picnic yourself. Caitlyn: I'm not the one who walked us into, not one, but two of Silco's traps. [grunts] Vi: This isn't Silco, it's someone else. Caitlyn: How do you know? Vi: 'Cause we'd already be dead. Caitlyn: Oh, very nice. When were you planning to tell me that your lunatic sister works for him? Vi: Just as soon as you came clean about what the hell you're really doing down here. Caitlyn: I told you the truth. Vi: Bullshit. What was that glowing stone? Caitlyn: [sighs] Vi: That's what I thought. [metal creaks] Caitlyn: [grunts] What's going on? Vi: Hey, stop! Get your hands off of me! Caitlyn: Leave her alone! Vi: Let me go! Caitlyn: Vi? [door bangs] Cailtyn: Vi! Vi! [pants] Extract (14) Caitlyn: [gasps] 31 Vi: My hero. Caitlyn: You're…But I thought you… I thought they were hurting you! Extract (15) Vi: Ekko, she believes what she's saying, okay? She's not your enemy. Ekko: [scoffs] Oh, yeah? Then what's this? [object trills] Caitlyn: You got it. You have to let me take that back. [sighs] Vi: What is it? Caitlyn: It's a Gemstone. It was stolen during the attack. By your sister. Vi: You just forgot to mention that? Caitlyn: With this, someone with the right knowledge could build…any Hextech device. If enforcers are becoming more… aggressive, that's why. Ekko: We could beat Silco with this. Caitlyn: That won't solve things. Ekko: Easy for you to say. Your people aren't dying all around you. Caitlyn: Ekko, it's wrong what's been done to you. You'd be well within your rights to keep it. I couldn't blame you. But… if you do, this cycle of violence will never stop. This is our best shot at setting the record straight. This city needs healing. More than I ever realized. Please, let me help you. Ekko: You got a plan? Caitlyn: I have a friend on the council. Let me take the Gemstone to him. He'll listen to me. Your people wouldn't have to hide anymore. Ekko: One condition. I'm the one who gives it to them. Extract (16) Ekko: Vi? Vi: I can't leave her again. Ekko: You can't change her. Vi: I have to try. Ekko: [scoffs] Don't get yourself killed. Vi: [chuckles] No promises. It's been real, Cupcake. Thanks. For everything. 32 Extract (19) Vi: Who lives here? Another Councillor friend of yours? [door bangs] [cocks gun] Cassandra: Caitlyn! Tobias: Oh. We were so worried. Thank goodness you're safe! Cassandra: And you found a stray. Caitlyn: This is Vi. She's from the undercity. Cassandra: So I see. Could we have a word, Caitlyn? In private. Extract (20) Caitlyn: We'll present our case to the Council tonight. Vi: You did all this yourself? Without even going down there? [sighs] And I thought Powder could get obsessed. [scoffs] Caitlyn: What happened to her, it's not your fault. Vi: When my parents were still alive…me and Powder used to share a bed like this. Except, maybe, half the size. We played a game where we pretended to be bigger and bigger monsters. So she would say, "I'm a slug monster with venom for ooze." And I'd say, "Well, I'm a slug-eating crab with razor spikes." Sometimes, I… I'd get carried away and she'd get scared. I didn't want her to start crying and wake my parents up, so…I pretended to chase my own monsters away. I'd say…"No monster's gonna get you when I'm here." Then a real monster showed up. And I just ran away. I left her. Extract (21) Caitlyn: Uh… Vi: Her name is Jinx. Jayce: This Jinx has the Gemstone? Then we have to go in by force. Mel: That could trigger war. Caitlyn: There are good people down there. Councillor 1: Hmph. Bad ones too. Councillor 2: Even if we wanted to invade, they have Shimmer. Jayce: We have Hextech. Caitlyn: What happened to you? 33 Jayce: We've been talking about talking for weeks now. They're still cleaning the blood off the bridge. When do we say enough is enough? Mel: Jayce, you don't know war. I do. It must be our last resort. There may be a diplomatic solution. Salo: She’s right. Jayce: [sighs] Vi: What? You want to negotiate with him? Cassandra: It may be the only way to avoid further bloodshed. Vi: This is insane. Did you learn nothing? You can't talk to him! He hates you. Everything you stand for. He will never back down. Salo: Enforcers, please escort them out. Vi: Forget it. I remember where your fancy damn door is. Caitlyn: [sighs] Vi! Wait! Wait! Where are you going? Vi: I don't know. Back where I came from? Seems like that's what everyone up here wants. Caitlyn: I can fix this. Vi: You can't! This is how things are. How they've always been. I was so stupid to think it could change. Caitlyn: There must be something else we can do. Some other way. We'll make a new plan. We have to try. Vi: We tried. Okay? It wasn't enough. Topside and bottom. Oil and water. That's all there is. Caitlyn: What about us? Vi: Oil and water. Wasn't meant to be. Caitlyn: [sighs] You're just saying that. Vi: Do yourself a favour, Cupcake. Go back to that big, shiny house of yours and just…forget me, okay? Extract (22) Vi: Powder! Leave her out of this. Extract (23) Vi: No! Stop! 34 Jinx: [grunts] Caitlyn: Drop the gun. Vi: [breathing shakily] Jinx: [grunts] Vi: Wait! She's my sister. Caitlyn: Vi, she's too far gone. Jinx: [snickers] Vi: [shaky breath] No, no, no. Jinx: [giggles] Vi: Look out! [Caitlyn yelps] Extract (24) [Caitlyn screams inaudibly] 35 SEASON 2 EPISODE 1 Extract (25) Vi: Hey. [Caitlyn sobbing] You were right, Cait. Powder's gone. I can make this right. If you get Jayce to fix the gauntlets, I can do this myself. No one else needs to get hurt. Caitlyn: No. No more rogue mission. No more reckless plans. My mother was right. My arrogance led me to take on more than I could handle, and she paid the price. They're sending all the Enforcers after Jinx. I’m going with them. Vi: Please, I have to help. Caitlyn: You can, as one of us. Vi: Cait, I can't wear this. Caitlyn: People are calling for blood. The Council won't stop them. You can show that not all of Zaun supports Jinx. We can show them. Together. Vi: I watched them kill my parents. Do you have any idea how that feels? Caitlyn: Yes. I do. I thought you were on our side. Vi: You didn’t think at all. Extract (26) Caitlyn: [yells] Vi: [yells] Get the counsellors out of here. I have an idea. Caitlyn: What are you doing? Extract (27) Vi: Thought you were gonna get yourself killed. Caitlyn: A memorial. What kind of animals? Vi: They wanted the spectacle. They're trying to scare you. You… You need to find a way to call off the invasion. Caitlyn: What? Vi: This battle was on your soil. Down there, you'll be on their terms. 36 Caitlyn: None of this is on our terms. Vi: Maybe you should change that. Caitlyn: I don't know how, okay? She dies and leaves this giant hole, and I'm just supposed to fill it. Like she was never there to begin with. Vi: Hey. You won't. The hole gets smaller, but... you never fill it. Caitlyn: I was wrong to spring the badge on you. It's just... every way I slice it, if I go after your sister alone, one of us comes back in a box. It's all coming apart. Vi: No, it isn’t. We won’t let it. EPISODE 3 Extract (29) [Heenot sneezes] [breathes heavily] Thanks, I thought I was a goner. Vi: You’re Smeech’s man. Heenot: Was. Not anymore. Name’s Heenot. I… [sneezes] Oh, I decided it was time for me to retire. Caitlyn: Looks more like someone decided to retire you. Heenot: Yeah, well, timing was never my strong... [sneezes] Sorry. Sorry, it's... It's the Grey. It gives me the... [sneezes] Caitlyn: Tell us how you wound up here. Heenot: Hey, wait, wait. Jinx is off the rails, even for her. She's got a real fire lit under her ass. She's planning something big, right here in the pipeworks. Vi: It's a pretty big place down here. Heenot: [grunts] She was headed towards the old tunnels. Something about rerouting the vents. Cailtyn: This is it, then. Cuff him. Heenot: Hey, I told you everything I know. Caitlyn: You're a confessed criminal. You'll spend your retirement in a cell. Check your gear. This is what we've trained for. Vi: Can I get a minute? Extract (30) Vi: I think we should cut the others loose. 37 [Caitlyn scoffs] Vi: Listen, if that Heenot idiot is telling the truth, Jinx is gonna have surprises in store for us. Caitlyn: All the more reason to bring backup. Vi: She'll smell their nerves a mile away and find a way to use them against us. Tell me I'm wrong. Caitlyn: I can't let her get away again. Are you sure you're ready to...? Vi: My sister is gone. There's only Jinx now. It has to end. I'm so sorry about your mother. I'm sorry I can't bring her back, but please just... Everyone in my life has changed. Promise me you won't change. Caitlyn: I won’t. Extract (31) Vi: Cait. If you see an opening… take the shot. Caitlyn: Vi. Extract (32) Caitlyn: Get away from her. Vi: Cait. Caitlyn: Move. Jinx: Scram, kid. Vi: Cait, she’s a child. Caitlyn: Move. She’s not getting away again. Vi: Cait. Caitlyn: Move. Vi: Cait! [weapon fires] [Isha whimpers] Jinx: No, no, this isn't how it's supposed to... Extract (33) [Caitlyn grunting] Vi: Cait. 38 Caitlyn: You stopped me. Vi: I shouldn’t have had to. Caitlyn: I had the shot. Vi: That was a kid. What if you missed? What's wrong with you? Caitlyn: I keep telling myself that you're different. But you're not. It's her blood in your veins. Vi: Then why are you the one acting like her? [Vi grunts] [whimpers] EPISODE 6 Extract (34) Vi: [grunts] On the job, I see. Caitlyn: You can’t be here. Vi: Oh. Here, like where I landed when this rich, unhinged mongoose just tackled me? Caitlyn: Mongoose? Your hair. You look like an angry oil slick. Vi: [scoffs] Don’t sugarcoat it, Cupcake. Who’s out there? Caitlyn: We tracked some sort of new chemweapon down here. A bloodthirsty murderous beast. What are you doing here? Vi: Trying to save… my dad. Extract (35) Vi: So much for happy reunions. Ambessa: Well done Caitlyn. Singed: It’s time. Extract (36) [Vi grunts, then gasps] Caitlyn: Whatever you do, don’t underestimate Ambessa. Extract (38) [Vi screams] EPISODE 8 Extract (39) 39 Vi: Arrested? Caitlyn: I can handle this, Maddie. Check on my father? Vi. Vi: She saved your life. Caitlyn: If you will calm down for one… Vi: Knowing you'd never have done the same for her. Caitlyn: We'll never know, will we? You didn't let me in on that part of your plan. Vi: Clearly the right call, since you still can't trust her enough not to shove her in a box. Caitlyn: Trust? You believe I'm so daft I can't recognize a contingency? She wasn't there for my benefit. You didn't trust me to follow through. Vi: Can you blame me? How long were you sidled up with that shifty, self-serving war pig? She oinked poison in your ear. You just ate it. Caitlyn: I know. The only thing Jinx cared about was getting you to safety. Then she just surrendered. I didn't even have time to think before they hauled her off. She's being held in the bunker while I decide what to do. I was waiting for you to recover. Vi: Cait, she’s changed. Caitlyn: We can’t erase our mistakes. None of us. Vi: Who decides who gets a second chance? [Caitlyn sighs] Extract (40) Caitlyn: Had a feeling I might find you here. Vi: I really believed she'd help. Say it. You told me so. I was an idiot to trust her. I went behind your back. I choose wrong every time. And because of it, I've lost everyone. Caitlyn: You really think I needed all the guards at the Hexgates? Sorry to say, you've grown a bit predictable. Uh, listen, while you were gone, I saw someone... Vi: Cait. I don’t fucking care. EPISODE 9 Extract (42) Caitlyn: Is that… singing? Vi: It's just a tune my mother used to hum. Caitlyn: Are you still in this fight, Violet? 46 In this Appendix we can find a classification of the types of non-verbal cues used in the interactions between Caitlyn and Vi within the second season of the series Arcane. I will follow DeVito’s (2002) classification. As for the paralinguistic features, I will consider only those cases of stress, pitch, rate and volume in which they are above or below the average level of the conversation. Season 2 Extract 25 9 affect displays when V frowns sadly looking at C; when V pouts looking down ashamed; when C tries to show a smile; when C frowns and starts to cry; when V looks surprised at C crying; when V looks at C frowning, empathizing with her; when C looks at V sadly; when V looks up with a surprised expression; when C frowns angrily at V 6 illustrators when V tries to reach C to convince her of her plan while shaking her head; when C shakes her head no deny V’s plan; when C holds V to emphasize her statement; when V squeezes C’s hand to let her help; when V shrugs to emphasize her statement while shaking and touching her head; when V sighs to show frustration 9 adaptors: 3 self-adaptors when C wipes her tears away; when V walks backwards, away from C because of the shock; when V walks away with her hands inside her pockets 2 object-adaptors when V leans on the window; when V lets the badge fall 4 alter-adaptors when C throws herself into V’s arms; when V hugs her; when V caresses C’s face; C and V hold hands to comfort each other Physical contact V and C Physical contact V and C 1 public distance 2 social distances 2 personal distances 2 intimate distances 2 changes in pitch above average when V greets C; when C explains herself to V; 1 change in volume and pitch below average when V admits that C was right; 2 changes in pitch below average when C states her decision; when C feels betrayed; 1 change in stress above average when C confirms V that she can help; 1 change in pitch and stress below average when V refuses to wear the badge; 1 change in pitch and volume below average when C tries to convince V to help her; 2 changes in volume above average when V expresses herself; when C answers V Extract 26 3 affect displays when C frowns when looking at V showing resentment; when V opens her eyes wide in surprise at the offer of C; when C offers V a sad look 2 adaptors: 1 object-adaptor when V attacks the machine to protect C 1 alter-adaptor when C offers V her hand Physical contact V and C 1 personal distance 1 intimate distance 47 1 change in pitch above the average when C asks V of her plan, preoccupied Extract 27 6 affect displays when V’s face saddens while looking down; when C clinches her teeth showing distress; when C frowns to show frustration; when C frowns and opens her mouth in disbelief while looking up; when V softly frowns and widens her eyes looking hurt; when C looks up to V frowning with a sad expression 4 illustrators when V forces a smile while telling a joke; when C shakes her head in disbelief; when V gestures with her arm to express herself; when C gestures frenetically with her arms and hands to express hopelessness and frustration 5 adaptors: 3 self-adaptors when V keeps her hands on her pockets; when C touches her forehead in distress; when C wipes her own face; 2 alteradaptors when V wipes C’s tear from her face; when C caresses V’s hand with her cheek 1 personal distance 1 intimate distance Physical contact V and C 1 change in pitch and stress above average when V jokes with C; 1 change in volume and stress above average when C insults the attackers; 2 changes in volume below average when V tries to convince C; when C calms down after exploding; 1 change in volume above average when C explodes of stress Extract 28 1 alter-adaptor when V touches C’s shoulder to demonstrate her support 1 personal distance 1 intimate distance Physical contact V and C Extract 29 2 affect displays when V looks C while rising her eyebrows concerned for C; when C is frowning but softens her look a bit when seeing V showing interest 1 social distance 1 change of volume below average when V requests C to talk Extract 30 8 affect displays when V sighs showing frustration; when C scoffs and frowns in disagreement; when C looks away not to maintain eye contact with V; when V looks down accepting a hard truth; when V starts to tear and close her eyes because of her sadness; when V frowns in confusion; when V looks at C frowning showing preoccupation; when C frowns after erasing a little smile showing determination; when C frowns then raises her eyebrows with sadness towards V; when C cries 1 regulator when C tries to talk 1 illustrator when V shakes her head in disappointment 5 adaptors: 1 self-adaptor when C holds her hands together to maintain composure; 3 alter-adaptors when C caresses V’s face; when C kisses V while holding the back of her head; when V grabs C and kisses her; 1 object-adaptor when V lets her gauntlets drop 1 social distance 1 personal distance 1 intimate distance Physical contact V and C Physical contact V and C 48 2 changes in pitch above average when V explains the tricky situation; when V expresses herself to C; 1 change in volume below average when V accepts the situation Extract 31 2 affect displays when C frowns with a sad look when talking to V; when V looks down determined and sad Physical contact V and C 1 change in volume below the average when V tells C to take the shot; 1 change in pitch above average when C stops V Extract 32 1 emblem when V holds her hands up to indicate C to stop 3 affect displays when C tenses her face and frowns in distress; when C opens her eyes wide and her mouth in disbelief towards V; when V opens her eyes and mouth and looks at C with fear 2 illustrators when C indicates the way with her weapon; when C shakes her head holding her weapon 1 object-adaptor when V holds C’ weapon to the ground 1 public distance 1 personal distance Physical contact V and C 2 changes in volume above average when C gives orders; when C remarks the situation to C Extract 33 4 affect display when V frowns frustrated and sad; when V frowns and looks C up and down not recognising her; when C frowns and pouts frustrated with herself; when C breathes heavily and her lip shakes showing anger 1 illustrator when C gestures with her hand to emphasize her confidence 4 adaptors: 2 self-adaptors when C rests her head on the rock; when V grabs her side from the hit, crunching in the ground; 1 object adaptor when V drops her gauntlets; 1 alter-adaptor when V stops C 1 intimate distance 1 personal distance 1 social distance Physical contact V and C 1 change in volume above average when V calls C; when V grabs C’s wrist; 2 changes in stress above average when V emphasizes the dangerous situation; when C goes away from V Extract 34 6 affect displays when V frowns angrily and grins her teeth when being thrown and then softens her expression realizing who threw her; when C frowns and opens her mouth confusedly; when C frowns and grins her teeth while yelling at V angrily; when C raises one eyebrow in confusion when observing V; when C opens her eyes wide when V calls her “Cupcake”; when C moves her gaze side to side and softens her eyebrows’ expression when realizing what V is doing there 1 alter-adaptor when V pushes C 1 intimate distance 1 personal distance Physical contact V and C 2 changes in stress and volume above average when C yells at V; when V confronts C Extract 35 2 affect displays when V frowns showing anger; when C maintains a static face towards V showing determination 49 1 illustrator when V shakes her head 2 self-adaptors when C wipes V’s spit off her face; when V tries to break free towards C showing anger 1 personal distance Extract 36 2 emblems when V points and gestures with her finger for C to come at her; when C shrugs 3 affect displays when V opens her eyes widely in surprise; when C raises her eyebrows with a preoccupied look at V; when C closes her mouth after observing V preoccupied, convincing herself to go on with the plan 1 personal distance 1 intimate distance Physical contact V and C 1 change in stress above average when C warns V Extract 37 2 affect displays when V looks at C worried then relieved; when C looks at V frowning, showing confusion 1 social distance Extract 38 1 affect display when C raises her eyebrows and opens her mouth significantly with a terrifies look in her facing seeing V 1 alter-adaptor when C checks on V when wounded 1 public distance 1 intimate distance Physical contact V and C Extract 39 6 affect displays when V enters frowning with anger; when V grins and frowns while arguing; when C raises then frowns her eyebrows repeatedly to show irony; when C frowns at V’s statements feeling offended; when V opens her eyes wide and grins attacking C with her words; when C sighs in frustration after V leaves 3 illustrators when V gestures with her arms showing anger; when C gestures with her arm trying to explain herself; when V gestures in a general direction then towards C when referring to Jinx 5 adaptors: 4 self-adaptors when C crosses her arms; when V paces around the room, nervous; when V rests her hands on her hips; when C bites the inside of her cheek while looking away; 1 object-adaptor when C throws the little boat 1 social distance 2 changes in volume above average when V enters; when C responds to V’s attack; 1 change in rate above average when V confronts C; 3 changes in pitch above average when C confronts V; when C responds against C; when V explains the situation of her sister to C Extract 40 11 affect displays when V hears the keys and frowns, then raises her eyebrows when she discovers it is C; when C keeps a straight expression, looking distressed; when C smiles at V with self-sufficiency; when V looks at C with her eyes wide open in astonishment; when C opens her eyed wide with surprise at V’s kiss; when C frowns when confessing to V; when V and C smile while kissing; when C smiles briefly and blows a hair out of her face showing self-sufficiency; when C looks sadly at V’s wound; when C and V laugh at V struggling with the belt; C closing her eyes enjoying the situation 2 illustrators when C when C rests her body and head on the wall; when V shakes her head to show C that she does care 50 7 adaptors: 2 self-adaptors when V rests her arm on the wall; when V holds the back of her neck with both hands; 5 alter-adaptor when V grabs and kisses C; when C holds V while kissing her; when V caresses C’s back; when C caresses V’s wound; when V grabs C’s arm to kiss her again 1 social distance 2 personal distance 2 intimate distance Physical contact V and C Prolonged physical contact V and C 1 change in volume below the average when V exposes herself to C; 1 change in pitch and stress above average when C responds to V’s confession; 1 change in rate below average when C confesses to V Extract 41 2 affect displays when V looks at C worried, then looks away; when C looks at V frowning, also worried 1 alter-adaptor when C grabs V’s hand 1 personal distance Physical contact V and C Extract 42 4 affect displays when C smiles to V; when V smiles to C; when V smiles and frowns to C showing confidence; when C keeps a straight face full of uncertainty 1 illustrator when V rests her head on her shoulder assuring C of her statement 1 regulator when C encourages V to talk to her 2 adaptors: 1 object-adaptor when V holds the glass; 1 self-adaptor when C rests her head on V’s shoulder 1 intimate distance Physical contact V and C 1 change in pitch above average when C opens the conversation with V; 1 change in rate and pitch below average when C asks V